) 


~- ON PUBLIC EXHIBITION FROM THURSDAY, FEBRUARY TWENTY-FIFTH 


[WEEK DAYS 9-6 P.M—SUNDAY 2-5 P.M.] 


mee ART COLLECTIONS 


OP OTRE BATE 


VISCOUNT LEVERHULME 


[PARTS SIX & SEVEN’ 


ORIGINAL DRAWINGS 
PRINTS & WATER COLORS 


TO BE SOLD BY ORDER OF THE EXECUTORS 
AT UNRESERVED PUBLIC SALE 


TUESDAY, WEDNESDAY, THURSDAY EVENINGS 
MARCH SECOND, THIRD, FOURTH 
AT EIGHT-FIFTEEN 


THE ANDERSON GALLERIES 


MITCHELL KENNERLEY [PresipenT] 
489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 
1926 


—coh x. 
oe Be 
. 


BA 


CARDS OF ADMISSION TO THE SALE, EACH OF WHICH 
ONE PERSON ONLY, MAY BE OBTAINED UPON WRITTEN . 
WHICH MUST SPECIFY THE DAY OF THE SALE AS 


TO BE SOLD BY AUCTION ~ 
AT UNRESERVED PUBLIC SALE 
TUESDAY, WEDNESDAY, THURSDAY EVENINGS 
MARCH SECOND, THIRD, FOURTH 

AT EIGHT-FBTEEN :~ 


ORDER OF SALE ee. 
TUESDAY EVENING NUMBERS — 1-140 
WEDNESDAY EVENING NUMBERS 141-249 
THURSDAY EVENING NUMBERS 250356 


SIONS ON EACH DAY WILL BE LIMITED TO THE CAPACI fe 


SALES- ROOM 


ON PUBLIC EXHIBITION FROM THURSDAY, FEBRUARY TWENTY FIFTH 
[WEEK DAYS 9-6 P.M—SUNDAY 2-5 P.M. ] 


toe ART COLLECTIONS 


OF THE LATE 


Pao COUNT LEVERHULME 


[PARTS SIX & SEVEN] 


ORIGINAL DRAWINGS 
PRINTS & WATER COLORS . 


TO BE SOLD BY ORDER OF THE EXECUTORS 
THE RIGHT HONOURABLE WILLIAM HULME, VISCOUNT LEVERHULME 
HAROLD ROBERT GREENHALGH 
FRANCIS D’ARCY COOPER 
JOHN McDOWELL 


THE ANDERSON GALLERIES 


MITCHELL KENNERLEY [PRresIpenr ] 
489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 
1926 


CONDITIONS OF SALE 


ALL BIDS TO BE PER LOT AS NUMBERED IN THE CATALOGUE. 

The highest bidder to be the buyer. In all cases of disputed bids the decision 
of the Auctioneer shall be final. 

Buyers to give their names and addresses and to make such cash payments on 
account as may be required, in default of which the lots purchased shall be 
resold immediately. 

Purchases to be removed at the buyer’s expense and risk within twenty-four 
hours from the conclusion of the sale, and the remainder of the purchase money 
to be paid on or before delivery, in default of which The Anderson Galleries, 
Incorporated, will not be responsible for any loss or damage whatever, but the 
lot or lots will be left at the sole risk of the purchaser, and subject to storage 
charges. 

All lots will be placed on public exhibition before the date of sale, for examina- 
tion by intending purchasers, and The Anderson Galleries, Incorporated, will 
not be responsible for the correctness of the description, authenticity, genuine- 
ness, or for any defect or fault in or concerning any lot, and make no warranty 
whatever, but will sell each lot exactly as it is, WITHOUT RECOURSE. 

If accounts are not paid and purchases removed within twenty-four hours of the 
conclusion of the sale, or, in the case of absent buyers, when bills are rendered, 
any sum deposited as part payment shall be forfeited, and The American Gal- 
leries, Incorporated, reserve the right to resell the lot or lots by either private 
or public sale, without further notice, and if any deficiency arises from such 
resale it shall be made good by the defaulter, together with all expenses in- 
curred. This condition shall be without prejudice to the right of this Com- 
pany to enforce the sale contract and collect the amount due without such 
resale, at its own option. ; 

The Anderson Galleries, Incorporated, will afford every facility for the employ- 
ment of carriers and packers by the purchasers, but will not be responsible 
for any damage arising from the acts of such carriers and packers. 

The Anderson Galleries make no charge for executing orders for their cus- 
tomers and use all bids competitively, buying at the lowest price permitted 
by other bids. 


A Priced Copy of this Catalogue may be obtained for Six Dollars 


THE ANDERSON GALLERIES, INC. 
489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 


TELEPHONE REGENT 0250 CATALOGUES ON REQUEST 


SALES CONDUCTED BY MR. F. A. CHAPMAN, MR. A. N. BADE AND MR. E. H. L. THOMPSON 


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4 


FOX HUNTING 
BY HENRY ALKEN 


[NUMBER 1] 


FOX HUNTING 
BY HENRY ALKEN 


[NUMBER 1] 


SALE TUESDAY EVENING, MARCH SECOND, AT  EIGHT-FIFTEEN 


FIRST SESSION 


NUMBERS 1-140 


HENRY ALKEN 
1816-1831 


Alken is said to have been stud-groom to the Duke of Buckingham; he was 
a well known draftsman and engraver, his first works being published 
under the pseudonym of “Ben Tallyho”. He produced a number of sets of 
colored etchings of sporting subjects, many humorous, but all attractive 
and decorative, which rendered them popular from the time they were 
drawn to the present day. 


1 FOX HUNTING (A Pair) 
Pencil and wash drawings. Magnificent examples of the work of the 
greatest sporting artist of his day. All his skill in depicting the 
huntsman and his steed is here represented in his best manner. Both 
signed “H. Alken’. Gilt frames. (2) 
Height, 1014 inches; width, 1514, «ches 


[SEE ILLUSTRATIONS] 
1 


EDMUND ASHFIELD 
ENGLISH, 17TH CENTURY 


Edmund Ashfield, a pupil of Joseph Michael Wright, was known as a 
painter of portraits remarkable for the delicacy of their execution. He 
worked in oil and crayon, but is chiefly noted for the latter method. There 
still exist many portraits by him of contemporary celebrities. 


[NUMBER 2] 


2 PORTRAIT OF JOHN, FOURTH DUKE OF SOMERSET AND 
MARQUESS OF HERTFORD 
Black crayon drawing. Bust portrait, almost full front. He wears 
a cloak with elaborate lace collar, hair falling in curls over the 
shoulders. In an elaborate old gilt frame. . 
Height, 13 inches; width, 9 inches 
ONE OF THE FINEST DRAWINGS OF THIS PERIOD IN EXISTENCE. | Sada 
From the Collection of George Vertue. | ce 
From the Collection of Francis Wellesley, Esq. | 


2 


J. H. BACON 
CONTEMPORARY ENGLISH 


8 READING ALOUD 
Chalks on olive-colored paper. A charming study of the head and 
shoulders of a little girl. Signed “J. H. Bacon”. Silvered wood 
frame. Height, 1614 inches; width, 121% inches 


DAVID BAILEY 
1584-1661 


A portrait painter of the Dutch School; he was born at Leyden and studied 
m Italy and Germany, and in Amsterdam, where he lived for some years, 
under Cornelis Van der Voort. 


4 THE ARTIST’S OWN PORTRAIT 

Pen and ink. Half-length, viewed to the right, eyes looking front. 
Dressed in tight doublet with stiff lace collar, short wavy hair, 
pointed beard and moustache. Dated 1623. Gilt frame. 

Height, 5 inches; width, 4 inches 
Exhibited at the Victoria and Albert Museum, 1916-18. 
From the C. Ploos van Amstel Sale in 1800, and the Collection of 
Francis Wellesley, Esq. 


BRUCE BAIRNSFATHER 
CONTEMPORARY ENGLISH 


5 OTHER TIMES, OTHER MANNERS; THE COMMUNICATION 


Two wash drawings. Signed. Framed. (2) 
Average height, 13 inches; width, 9 inches 


6 THE HISTORICAL TOUCH; OLD SAWS AND NEW MEANINGS 
Two wash drawings. Signed. Framed. (2) 
Average height, 15 inches; width, 14 inches 


3 


E. BALE 
CONTEMPORARY ENGLISH 


7 FLOWER PAINTING 


Gloire de Dijon roses and leaves in a glass goblet. 
Water color. Signed and dated ‘“‘E. Bale, 1873”. Framed. 

Height, 1234, inches; width, 934, inches 
From the Collection of Sir Cuthbert Quilter. 


BERNARD BARON 
1700-1766 


CHARLES I AND HENRIETTA MARIA, WITH PRINCE CHARLES 
AND PRINCESS MARY 
Fine sepia wash drawing after the famous painting by Van Dyck. 
This is the finished study for the artist’s mezzotint engraving which 
was published in 1741. Polished ebony frame. 

| Height, 19 inches; width, 15 inches 
From the Collection of Francis Wellesley, Esq. 


GEORGE BARRETT, R.A. 
1728-1784 


Born in Dublin. A landscape painter and one of the original members of 
the Royal Academy; when he went to London he had an unprecedented suc- 


cess. 


Lord Dalkeith bought three of his pictures for £1,500—a very high 


figure for those days. 


9 SUNSET, ISLE OF WIGHT 


10 


Water color. A huge cliff at the right is thrown into deepening shad- 
ows and tints by the reflected lights from the sea as the sun sets in a 
blaze of colors. Gilt frame. Height, 6 inches; width, 834, inches 


CLASSIC RUINS 
Water color. Gilt frame. Height, 334, inches; width, 534 inches 


4 


MARIE BARTHOLOME 
CONTEMPORARY FRENCH 


11 STILL LIFE 
Peonies in a blue and white jar. 
Water color. Signed “M. Bartholome”. Framed. 
Height, 30 inches; width, 2034, inches 


MAX BEERBOHM 
1872- 


Famous author and caricaturist, whose perennial exhibitions of carica- 
tures of notabilities and notorieties attract throngs of visitors whenever 
and wherever they take place. 


12 ONE FINE MORNING, OR, HOW THEY MIGHT UNDO ME (1911) 
Water color and pen and ink drawing. The artist stands back, 
stricken with amazement, as the long winding line of his creations 
passes before him. Among those in the procession, who have helped 
Max to his fame, and are here caricatured, may be mentioned Asquith, 
Lord Rosebery, Shaw, Lord Haldane, Hall Caine, Kipling, Arnold 
Bennett, George Moore, Sutro, Pinero, John Sargent, Andrew Lang, 
Lord Ribblesdale, Lord Curzon, Lord Kitchener, and G. K. Chester- 
ton. With a key to the drawing in the artist’s autograph. Both are 
signed “Max”, and dated 1911 and 1918 respectively. Both framed. 
(2) Height, 1214, inches; width, 1534, inches 
A SUPERB EXAMPLE OF THE ARTIST’S POWER OF CARICATURE. 


JOHN HODGES BENWELL 
1764-1785 


Genre painter, who studied at the Royal Academy in London; he executed 
small water color drawings heightened with crayon, in a manner all his 
own. Several of his pictures were reproduced by celebrated engravers. 


18 JENNY 
Water color drawing. A young girl seated beside her neglected spin- 


ning wheel. Oval, in gilt frame. 
Height, 8 inches; width, 614 inches 


5 


HENRY PIERCE BONE 
1779-1855 


Bone started life as a painter in oils and exhibited portraits at the age of 
twenty; he continued painting until 1833, when he started to work on 
enamel portraits, to which branch of painting he confined himself for the 
rest of his life. He was appointed Enamel Painter to Queen Adelaide, and 
to Queen Victoria and the Prince Consort. 


14 


15 


16 


17 


MATTHEW PRIOR 

Miniature enamel portrait. After the original by Richardson. Oval, 
in gilt frame. Height, 5 inches; width, 4 inches 
Inscribed on the back: “Mat. Prior. London May 1847. Painted 
by Henry Pierce Bone, Enamel Painter to Her Majesty, H.R.H. 
Prince Albert, H.M. The Queen Dowager, & H.R.H. the Duchess of 
Kent, after the original by Richardson in the British Museum”. 
From the Collection of the Hon. Mrs. Frederick Baring. 


[SEE ILLUSTRATION ] 


SIR WILLIAM BEECHEY 

Miniature enamel portrait. After the original self-portrait of the 
artist. Oval, in gilt frame. Height, 5 inches; width, 4 inches 

Inscribed on the back in a manner similar to the preceding. 3 
From the Collection of the Hon. Mrs. Frederick Baring. 


[SEE ILLUSTRATION ] 


SIR GODFREY KNELLER 

Miniature enamel portrait. After the original portrait of himself 

in the Collection of the Marquess of Exeter. Oval, in gilt frame. 
Height, 5 inches; width, 4 inches 

With inscription on the back. 

From the Collection of the Hon. Mrs. Frederick Baring. 


[SEE ILLUSTRATION ] 


SIR JOSHUA REYNOLDS 
Miniature enamel portrait. From the original painted by himself in 
his Majesty’s Collection. Oval, in gilt frame. __ 

Height, 5 inches; width, 4 inches 
With inscription on the back. 
From the Collection of the Hon. Mrs. Frederick Baring. 


[SEE ILLUSTRATION ] 
6 


MINIATURE ENAMEL PORTRAIT OF MINIATURE ENAMEL PORTRAIT OF 


MATTHEW PRIOR SIR WILLIAM BEECHEY 
BY HENRY PIERCE BONE BY HENRY PIERCE BONE 
[NUMBER 14] [NUMBER 15] 


MINIATURE ENAMEL PORTRAIT OF MINIATURE ENAMEL PORTRAIT OF 
SIR GODFREY KNELLER SIR JOSHUA REYNOLDS 
BY HENRY PIERCE BONE BY HENRY PIERCE BONE 


[NUMBER 16] [NUMBER 17] 


RICHARD PARKES BONINGTON 
1801-1828 


Bonington was born in Northamptonshire, and was trained in Paris under 
Baron Gros; he was awarded a Gold Medal for the work he exhibited in 
the Paris Salon, and the brilliance of his work attracted much attention. 
His early death limited his output and his works are scarce. 


18 ROUEN FROM THE SEINE 
Pencil drawing. Showing the Cathedral in the background and a 
busy waterside scene. Gilt frame. 
Height, 8 inches; width, 11 wmches 
From the Collection of J. P. Heseltine, Esq. 


HABLOT KNIGHT BROWNE (“PHIZ”’) 
1815-1882 


Better known as “Phiz’; he was christened Hablot in memory of his sister’s 
fiancé of that name, who fell at Waterloo. In 1836 he first became associ- 
ated with Dickens and in 1837 the two journeyed to Flanders together, 
followed by a visit to Yorkshire, where they made studies for “Nicholas 
Nickleby”. The subjects of his illustrations of Lever’s novels are nearly — 
always horses, which were his great delight. 


19 MR. RALPH NICKLEBY’S FIRST VISIT TO HIS POOR 
RELATIONS (1858) 
Water color and pencil drawing. Ralph Nickleby is seen bowing and 
gazing intently at Nicholas; Mrs. Nickleby is seated; her daughter 
stands beside her. Framed. Height, 5 inches; width, 4 inches 
THE ORIGINAL DRAWING FOR THE VIGNETTE TITLE-PAGE TO VOL. I OF 
THE “LIBRARY EDITION” OF DICKENS’ “NICHOLAS NICKLEBY”’. 


20 PAT AND HIS PIG (1880) 
Water color. Oval. Pat, swinging his shillelagh, with his fat pig 
following him, saunters jauntily by two Irish girls, standing in mid- 
stream with uplifted skirts, drawing water. Glances of mutual ad- 
miration pass between them. Signed ‘“Phiz’, and dated. Framed. 
Height, 31, inches, width, oe inches 
A DELIGHTFUL EXAMPLE OF “PHIZ’S” WORK. 


8 


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———— ys SOO 


21 


DRAWING FOR THE TITLE-PAGE OF DICKENS’ ‘‘MARTIN CHUZZLEWIT”’ 
FRAMED WITH THE ENGRAVING 
BY HABLOT K. BROWNE (“PHIZ’’) 


[NUMBER 21] 


DRAWING FOR THE ENGRAVED TITLE-PAGE OF “MARTIN 
CHUZZLEWIT” 
Pencil drawing. ‘Mr. Pinch” is seen seated at an organ playing as 
the tiny figures of the various characters in the story dance about 
him. Framed with the engraving of the same. 
| | | Height, 714 inches; width, 5 inches 
This is the final and completed drawing for the guidance of the 
engraver in making the frontispiece for Dickens’ “Martin Chuzzle- 
Wy baes | 

[SEE ILLUSTRATION] 


9° 


“NORFOLK HOWARD’S RIDE TO THE ROW” 
BY HABLOT K. BROWNE (‘‘PHIZ’’) 


[NUMBER 22] 


22 FRONTISPIECE SKETCH AND SIX FINISHED DRAWINGS 
ENTITLED, “NORFOLK HOWARD’S RIDE TO THE ROW” 
Pencil and water color. Although the title is a mere pencil sketch, 
six drawings illustrating the young man’s equestrian adventures are 
fine characteristic works in the artist’s best manner. Each signed 
“Phiz”. All framed. (7) 
Height of each, 714, inches; width, 1014, inches 


[SEE ILLUSTRATION ] 
10 


ADAM BUCK 
1759-1833 


Buck was renowned in his native city—Cork—as a portrait and miniature 
painter; he went to England in 1795 and from then until his death exhib- 
ited at the Academy over 170 portraits of well known people of his day. 
A large number of his pictures were reproduced in colored engraving, and 
at the present time are still being reproduced. 


23 


24 


25 


26 


27 


PORTRAIT OF JOHN PHILPOT CURRAN (IRISH ORATOR 
AND JUDGE) 


Pencil and sepia drawing. Three-quarter length, seated, wearing a 
dark coat and knee breeches, white waistcoat and frilled cravat. A 
classic portico with columns and a statue of a Roman Senator appear 
in the background. Gilt frame. 


Height, 1314 inches; width, 1014 inches 
From the Collection of Francis Wellesley, Esq. 


HELENA (MRS. CLARK) 
Stipple engraving printed in colors. Gilt frame. 


J. BURGI 
DUTCH, 17TH CENTURY 


A RIVERSIDE LANDSCAPE 


Gouache painting. A composition of wonderful detail and fine per- 
spective. Old gilt frame. Height, 534, inches; width, 814 inches 


LANDSCAPE WITH CATTLE AND PEASANTS 
Gouache painting. Signed. Old gilt frame. 7 
Height, 534, inches; width, 74% inches 


A MOUNTAIN LANDSCAPE WITH WATERFALL 
Gouache painting. Signed. Old gilt frame. 
Height, 534, inches; width, 714 inches 


11 


SIR EDWARD COLEY BURNE-JONES, BART., R.A. 
ENGLISH, 1838-1898 


Burne-Jones was associated with William Morris, Rossetti and Ruskin; the 
high standard of craftsmanship which they set for themselves was never 
lowered and the present collection of drawings and studies, some for his 
most famous pictures, show with what devotion and patience Burne-Jones 
worked. In all that he produced there is nothing slipshod or careless. 


28 


29 


30 


31 


32 


POLAR BEAR 

Black and white chalk drawing. Sketch of polar bear in characteristic 
pose. Framed. Height, 834, inches; width, 14 inches 
STUDY OF A GIRL’S HEAD 


Pencil on white paper. Three-quarter face, turned to the left. Gilt 
frame. Height, 734, inches; width, 634, inches 
From the Sale of the remaining works of the Artist, sold by order 
of the Executors at Christie’s, 1919. 


STUDY OF A YOUNG WOMAN’S HEAD 

Pencil on white paper. Full-face; tilted slightly backwards, the eyes 
looking to left. Gilt frame. Height, 914 inches; width, 7 inches 
From the Sale of the remaining works of the Artist, 1919. 


THE FIELD OF BOAZ 

Water color. A figure in greenish-blue draperies, holding a rod, 
standing in a field of corn. Gilt frame. Initialled and dated “E.B.J s 
TOT Height, 151% inches; width, 9 inches 
From the Collection of James Gresham, Esq., 1917. 

Exhibited at the Water Color Exhibition held at the Manchester 
Whitworth Institute, 1912. 


STUDY OF A FEMALE FIGURE 

Gold and white on pink paper. Full-length, in classic draperies, walk- 
ling to left, the left arm raised. Initialled and dated, “E.B.J 3 LOOT = 
Framed. Height, 14 inches; width, 734 inches 
Exhibited at the Fine Arts Exhibition in Berlin, 1898. 

Exhibited at the Burlington Fine Arts Club, London, 1899. 
Exhibited at the Japan-British Exhibition, 1910. 


12 


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36 


37 


38 


39 


STUDY FOR A KING IN “THE STAR OF BETHLEHEM” 
Black and white chalk on brown paper. <A fine example of Burne- 
Jones’ treatment of draperies. A study for the beautiful water color 
painting in the Birmingham Art Museum, painted 1888-91; very 
slightly altered. The design was executed in tapestry by William 
Morris for Exeter College, Oxford. Gilt frame. Initialled “E.B. J.” 
Height, 134% inches; width, 614 inches 
From the Sale of the remaining works of the Artist, 1919. 


STUDY OF THREE YOUNG WOMEN 

Red chalk on white paper. In typical draperies. Gilt frame. 
Height, 111% inches; width, 914 inches 

From the Collection of F. 8. Ellis, Esq., Torquay, England, 1918. 


THE MEETING 
Water color and pastel. Study of an enclosed garden, with angels and 
draped figures. Giltframe. Height, 614 inches; width, 934, inches 


ST. MICHAEL 
Black and white chalk on brown paper. <A study for a design for a 
stained glass window in St. Margaret’s Church, Rottingdean, Eng- 
land. Initialled “E.B.J.” Framed. 

Height, 1414 inches; width, 714 inches 


STUDIES OF ANGELS 

Pastel on brown paper. In voluminous draperies; one facing, the 
other with the back partly turned to the spectator, the right hand 
raised. Black oak frame. Height, 20 inches; width, 1714 inches 
From the Sale of the remaining works of the Artist, 1919. 


TWO STUDIES OF MALE FIGURES 
Pencil on white paper. Two in one. A study for the topmost figure 
in Burne-Jones’ famous picture, “The Wheel of Fortune’, painted in 
1875; inscribed in the top right-hand corner “Raffaelli fresco, 11 Fleet 
Row, L.L.”; and another fine study of a nude male figure, with a 
background of a path through mountains indicated. Oak frame. 
Height of each, 1014 inches; width, 7 inches 
From the Sale of the remaining works of the Artist, 1919. 


TWO STUDIES OF HAIR 
Pencil on white paper. Two in one. The faces lightly indicated. Oak 
frame. Height of each, 834, inches; width, 634, inches 


13 


40 


Al 


42 


43 


44 


A5 


46 


SIR EDWARD COLEY BURNE-JONES, BART., R.A. 


FIVE STUDIES OF HAIR AND HEAD-DRESSES 

Pencil on white paper. Four of female heads on one sheet; the other 
the back of a woman’s head with an intricate knot of hair. Two in 
oak frame. Height of each, 10 inches; width, 7 inches 
From the Sale of the remaining works of the Artist, 1919. 


TWO PORTRAIT STUDIES OF MISS MAY MORRIS 
Pencil on white paper. Two heads on one sheet; one profile, the 
other three-quarter face. Miss Morris, daughter of William Morris, 
is well known as a lecturer on embroidery. Oak frame. 

Height, 121% inches; width, 91% inches 
From the Sale of the remaining works of the Artist, 1919. 


DAY AND NIGHT 

Water color. A circular medallion. Against a starry sky the figure 
of Night, in blue Tere bending to awaken Day, who sleeps. 
Framed. Diameter, 6 inches 


FOUR STUDIES OF HEADS 

Pencil on white paper. Three female faces in profile, on one sheet; 

and the back of a female head, with the hair arranged in an elaborate 

coil. In wood frames. Height, 121% inches; width, 914 inches 
Height, 10 inches; width, 6 inches 


STUDY FOR THE HEAD OF FORTUNE 

Pencil on paper. For Burne-Jones’ famous picture, “The Wheel of 

Fortune”, which depicts a female figure, with a calm, impassive face, 

turning a wheel on which are bound the figures of men. Oak frame. 
Height, 934, inches; width, 91% inches 


STUDY FOR PERSEUS 
Pencil on white paper. For one of the series of nine pictures illustrat- 
ing the story of Perseus and Andromeda. Oak frame. 

Height, 1134, inches; width, 914 mches 


GANYMEDE 

Pastel. A fine study of an eagle of ruthless appearance carrying off 

a very scared-looking little baby. Inscribed on the back, “Ganymede 

and the Eagle—The Bird and the Bantling?’” Oak frame. 
Height, 1234, inches; width, 9 inches 


14 


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48 


49 


50 


51 


52 


o4 


5D 


SIX INTAGLIO DESIGNS 

Black and white chalk on brown paper. Small circular medallions of 
beautifully executed female figures in the classical manner. Mounted 
in one oak frame. Diameter of each, 31% inches 


TWO STUDIES FOR COPHETUA 
Pencil on white paper. Two studies of the draperies of the King as 
he sits at the feet of the Beggar-maid. “Cophetua and the Beggar- 
Maid”, Burne-Jones’ most famous picture, is now in the Tate Gal- 
lery, London. Two in one oak frame. 

Height of each, 12 inches; width, 714 inches 


STUDY OF A MALE FIGURE 

Black and white chalk on brown paper. Full-length, the body lean- 

ing slightly forward, the right arm upraised. Black and gold frame. 
Height, 31 inches; width, 1914 inches 


STUDY OF A WING 
Water color on brown paper. Oak frame. 
Height, 13 inches; width, 10 inches 


STUDY FOR BRIAR ROSE 

Pastel on brown paper. One of Burne-Jones’ most famous series of 
paintings; it consisted of four pictures depicting the story of the 
Sleeping Beauty. Framed. Height, 24 inches; width, 36 inches 


HEAD OF A MAN 
Black and white chalk on brown paper. Profile to right; looking up- 
wards. Framed. Height, 1734, inches; width, 16 inches 


STUDY OF A WOMAN’S HEAD 
Red chalk. Three-quarter face, turned to the left. Framed. 
Height, 16 inches; width, 12 inches 


MARTYRDOM 
Pencil. Finished cartoon for a stained glass window. Framed. 
Height, 30 inches; width, 22 inches 


STUDY FOR PERSEUS 

Pastel on brown paper. Two studies on one sheet. The “Perseus” 
series consisted of nine pictures; these two studies are for the figure 
of the goddess Pallas bringing to the hero the Sword of Sharpness. 
Framed. Height, 28 inches; width, 25% inches 


15 


56 


57 


58 


59 


60 


61 


62 


62A 


SIR EDWARD COLEY BURNE-JONES, BART., R.A. 


BLIND LOVE 

Pastel on brown paper. Study for the.water color which was painted 
in 1877. Framed. Height, 41 inches; width, 14 inches 
WOOD NYMPHS 


Charcoal on brown paper. Study of figures for “Avalon”, a picture 
on which Burne-Jones worked for seventeen years, and which was 
unfinished at his death. Framed. 

Height, 48 inches; width, 24 inches 


TWO STUDIES FOR THE CAR OF LOVE 
Charcoal on brown paper. Two separate studies of a male and 
female figure. Framed. (2) 

Height of each, 42 inches; width, 24 inches 


THREE STUDIES FOR THE CAR OF LOVE | 
Charcoal on brown paper. Three separate studies of male and female 
figures. Framed. (3) Height of each, 42 inches; width, 24 inches 


ST. MICHAEL 

Charcoal on white paper. Design for stained glass window in Edin- 

burgh, Scotland; the whole series of designs comprised six panels 

representing the Procession of the Ark and various Saints. Framed. 
Height, 89 inches; width, 31 inches 


ST. PAUL PREACHING AT ATHENS 
Charcoal on white paper. One of three designs for a stained glass 
window at Morton, England. Framed. 

Height, 98 inches; width, 24 inches 


W. G. BURN-MURDOCH, K.B.G.S., R.C.A.. 
CONTEMPORARY ENGLISH 


WASHING DAY AT CARCASSON 
Framed. 3 Height, 1834, inches; width, 27 inches 


CLEARING STONES OUT OF THE CREDE (1920) 
Water color. Four sportsmen are at their task, removing stones 
from the bed of a rocky stream, in order to allow salmon to pass 
more easily. Signed and dated. Framed. 

Height, 1014, inches; width, 1434, inches 
The Crede runs through the grounds of Lews Castle, Isle of Lewis 
Scotland. 


16 


L. T. BUTCHER 
CONTEMPORARY ENGLISH 


63 PICCADILLY CIRCUS (1923) 


64 


65 


66 


Colored chalk drawing. Signed and dated. Framed. 
Height, 1814 inches; width, 131% inches 


RANDOLPH CALDECOTT 
1846-1886 


MAY-DAY OFFERINGS (1884) 
Two pen and ink drawings. Swains in costume of the late eighteenth 
century shyly offering bouquets of flowers to young maidens. Signed 
with initials. Framed together. 

Height, 414, inches; width, 634, inches 
Laid down on the back of the frame is a two-page letter in the artist’s 
autograph, to Mr. Lewis, sending the two sketches: “the sort I make 
for my Picture Books—(I am using a sketch similar to one of these) 
—which I think are most characteristic of me’’;-etc. 


THREE PENCIL DRAWINGS 

Pencil and wash sketches, being the originals for illustrations which 
appeared as woodcuts in one of the historical romances of the time. 
Mounted. With the published woodcuts. In one frame. 


JACQUES CALLOT 
1592-1635 

A VILLAGE FETE 
Plumbago drawing. Several figures are represented drinking outside 
a tavern to the right, while in the foreground groups of men and 
women are seen gathering round the booths of merchants or dancing 
round a tree. A church spire on a hill in the distance. Signed. Gilt 
frame. Height, 23% inches; width, 3% inches 
Exhibited at the Victoria and Albert Museum, 1916-18. 
From the Collection of Francis Wellesley, Esq. 


17 


GEORGE CATTERMOLE 
1800-1868 


Cattermole first drew architectural subjects, but he is best known for his 
illustrations of Dickens’ “Barnaby Rudge’, “The Old Curiosity Shop”, and 
many historical and antiquarian works. 


67 


68 


69 


70 


71 


STARTING FOR THE WARS 

Water color. Amidst the pomp and ceremony of a departing knight 
and his followers the townsfolk mingle to say their farewells, while 
the handsome knight on his cavorting charger turns to bid a last 
silent farewell to his weeping lady at the window in the castle. Gilt 
frame. Height, 12 inches; width, 1914 inches 
From the Collection of James Orrock, Esq., R.I. 


THE ARMORY 
Water color. A scene in an armorer’s shop in the time of Charles 
II. The royal patron is seen receiving the homage of the old artisan 
in the midst of his collection. Gilt frame. 

Height, 18 inches; width, 26 inches 


G. CHAMBERS 
ENGLISH, 19TH CENTURY 
OFF THE NORE 
Water color. Hay barges and schooners sailing before a stiff breeze. 
Gilt frame. Height, 9 inches; width, 12 inches 
Exhibited at the Grosvenor Galleries, 1877-78. 
From the Collection of James Orrock, Esq., R.I. 


HENRI JULIEN CHEPPY 
CONTEMPORARY FRENCH 
STILL LIFE 
Water color. Chrysanthemums in a blue and white jar. Signed 
“H. Cheppy”. Framed. Height, 221% inches; width, 1714 inches 
Exhibited at the Salon de l’Ecole Frangaise, Paris. 


STILL LIFE 
Water color. Pink and red roses in a tall blue glass jar. Signed 
“H. Cheppy”’. Framed. Height, 2614 inches; width, 1914 inches 


18 


12 


73 


74 


715 


STILL LIFE 
Water color. Cornflowers in a vase and pink roses. Signed “H. 
Cheppy”’. Framed. Height, 2514 inches; width, 181% wches 


STILL LIFE 
Water color. Roses in a vase, by the side of which is a Chinese per- 
fume ball. Signed ‘“H. Cheppy”’. Framed. 

Height, 2314 inches; width, 1714 imches 


STILL LIFE 
Water color. Carnations in a glass vase. Signed “H. Cheppy’’. 
Framed. Height, 24 inches; width, 1714 inches 
STILL LIFE 


Water color. Roses in a blue jar . Signed “H. Cheppy”. Framed. 
Height, 241% inches; width, 171% inches 
Exhibited at the Salon de l’Ecole Francaise, Paris. 


THOMAS COLLIER 
1840-1891 


Painter of English landscape in water colors; he was practically self- 
taught. In 1861 he was elected to the Royal Institute of Painters in Water 
Colours and exhibited paintings in Paris, where he was created a Chevalier 
of the Legion of Honour. 


76 


A MOORLAND 
Water color. Signed. Gilt frame. 
Height, 634, inches; width, 934, ches 


764 SEASHORE WITH CLIFFS 


Water color. Framed. Height, 734, inches; width, 1134, inches 
19 


JOHN CONSTABLE, R.A. 
1776-1837 
One of the most famous of English landscape painters, whose love of 
nature and sincerity of character have imbued his sketches of scenes in 
Sujfolk, Hampstead, Salisbury and Brighton, to which his work was almost 
entirely restricted, with a spontaneity of tone, color and atmosphere unsur- 
passed by the work of any other artist. 


SALISBURY CATHEDRAL 
BY JOHN CONSTABLE, R.A. 


[NUMBER 77] 


77 SALISBURY CATHEDRAL 
Pen and wash drawing. A study for the large picture. Exhibiting 
fine attention to architectural detail. Gilt frame. 
| Height, 10 inches; width, 714 inches 
From the Artist’s Sale in 1892, and the Fairfax Murray Sale in 1917. 


[SEE ILLUSTRATION ] 
20 


78 


SALISBURY CATHEDRAL 
BY JOHN CONSTABLE, R.A. 


[NUMBER 78] 


SALISBURY CATHEDRAL 
Pencil drawing. The graceful spire of the Cathedral in silhouette 
against a sunset sky. Its reflection with the surrounding verdure is 
seen in the mirror surface of a pool in the foreground. Dated in 
the upper corner, “27 July 1820, Salisbury”. Gilt frame. 

Height, 614 inches; width, 9 wches 
From the Captain Constable and J. P. Heseltine Collections. 


[SEE ILLUSTRATION] 
21 


THE CATHEDRAL CLOSE AT SALISBURY 
BY JOHN CONSTABLE, R.A. 


[NUMBER 79] 


79 THE CLOSE AT SALISBURY 


80 


81 


Pencil drawing. Fine and vigorous in handling. Gilt frame. 
Height, 414 inches; width, 7 inches 
From the Captain Constable and J. P. Heseltine Collections. 


[SEE ILLUSTRATION | 


PLOUGHING 
Pencil drawing. Subject engraved by David Lucas. 

Height, 4 inches; width, 8 inches: 
From the Collections of Mrs. MacKinnon (née Constable) and J. P. 
Heseltine, Esq. 


A LUGGER, BRIGHTON BEACH, 1824 


Pencil drawing. A close-up study of one of the sturdy fishing craft 
drawn up on the beach. Gilt frame. 


Height, 7 inches; width, 1014, ches 
From the Captain Constable and J. P. Heseltine Collections. 


22 


82 


83 


34 


85 


86 


87 


LANDSCAPE 
Charcoal sketch on blue paper. Framed. 

Height, 614 inches; width, 1014, inches 
From the Collection of the late Richard Norton, Esq., Boston, Mass. 


BRIGHTON BEACH, 1824 

Pen and wash drawing. The famous fishing luggers are seen drawn 

up on the beach while the fishermen sort out their gear. Gilt frame. 
Height, 7 inches; width, 1014 inches 

From the Captain Constable and J. P. Heseltine Collections. 


HARROW, FROM THE FIELDS AT CHILD’S HILL 

Pencil drawing. Dated ‘Sunday, Aug. 12, 1821”. Gilt frame. 
Height, 6 inches; width, 9 inches 

From the Captain Constable and J. P. Heseltine Collections. 


OLD SARUM FROM DURNFORD DOWNS 

Pencil drawing. With title in the artist’s hand and dated “July 26, 
is20 o) Gilt frame. Height, 614 inches; width, 914 inches 
From the Captain Constable and J. P. Heseltine Collections. 


ELSTREE, and, NEAR GORING 
Water colors. <A delightful pair of miniature landscapes. Gilt 
frames. (2) Height of each, 3 inches; width, 4 inches 


JULIA CONVERT 
CONTEMPORARY FRENCH 


ROSES 
Water colors. Three separate paintings. Signed “Julia Convert’. 
Framed. (3) Height, 1114 inches; width, 151% inches 


MATTHEW RIDLEY CORBET 
ENGLISH, 1850-1902 


Corbet was born in Lincolnshire, England; he studied in London at the 
Royal Academy and Slade Schools, where he became a great friend of 
Watts. He also studied and perfected his style in Rome under Costa. 


38 


HAYSTACKS IN FRANCE 
Water color. Field with groups of haystacks and peasants; mountains 
in the distance. Signed “M. R. Corbet”. Gilt frame. 

Height, 5 inches; width, 14 inches 


23 


RICHARD COSWAY 
1742-1821 


Born in Devonshire, he early distinguished himself by his drawings, which 
were praised by Cipriani and Bartolozzi. He had for subjects all the 
beauty and fashion of the day, and was much encouraged by George IV, 
then Prince of Wales. 


KITTY FISHER 
BY RICHARD COSWAY 


[NUMBER 89] 


89 KITTY FISHER 
Pen and ink drawing. The subject, a famous beauty of her day, is 
seen seated on an embankment in a garden; she holds a gentle dove, 


while others flutter about or drink at a fountain to the right. Her - 


dress is of a loose décolleté bodice and full skirt, while her hair is 


dressed with a tiara, which is caught up at the back in loops of curls. 


Signed to the lower right “Rd. Cosway”, and dated 1767. 

From the Collection of Francis Wellesley, Esq. 

CONSIDERED ONE OF THE MOST BEAUTIFUL AND MOST IMPORTANT OF 
COSWAY’S DRAWINGS IN EXISTENCE. | 


[SEE ILLUSTRATION | 
24 


FRANCES ABINGTON, THE ACTRESS 
BY RICHARD COSWAY 


[NUMBER 90] 


90 FRANCES ABINGTON, THE ACTRESS 
Pencil drawing. She is represented full-length, seated under a tree, 
a spaniel by her side, and wearing a short-sleeved gown embroid- 
ered with rosebuds. Fine carved scroll frame. 
Height, 6 inches; width, 434, inches 
From the Collection of Francis Wellesley, Esq. 


A SUPERB DRAWING. 
[SEE ILLUSTRATION ] 


25 


91 


92 


PORTRAIT OF MRS. DELANY 
BY RICHARD COSWAY 


[NUMBER 91] 


PORTRAIT OF MRS. DELANY 

Pencil drawing. Full-length, seated; richly embroided gown; lace 

mob-cap on the powdered hair; face slightly tinted. Framed. 
Height, 9 inches; width, T14, inches 

From the Collection of Francis Wellesley, Esq. 


[SEE ILLUSTRATION | 


JOHN AND FREDERICK PONSONBY 
India ink drawing. The elder boy in profile stooping to point out to 
his brother the inscription on the base of a classic urn. The younger 
boy, resting his knee on the step of the pedestal, turns an enquiring 
face to his brother. Both wear satin jackets and breeches, and the 
older a cloak. Framed with the engraving of the same subject. 
Height, 9 inches; width, 7 inches 
From the Collection of Francis Wellesley, Esq. 
Exhibited at Bath, 1909. 


26 


JOHN SELL COTMAN 
1782-1842 


One of the most gifted painters of the “Norwich” School. He executed a 
few beautiful oil paintings, but the majority of his works are landscapes 
and marine pieces in water colors. There is a fine pen and ink drawing 
executed by him at the age of twelve, in the Cotman Collection at the Brit- 
ish Museum. 


93 


94 


95 


96 


A VIEW OF A GRAVEL PIT 
Pencil drawing on buff paper. Gilt frame. 

Height, 9 inches; width, 13 inches 
From the Collection of J. P. Heseltine, Esq. 


LANDSCAPE WITH FIGURES 
Water color. Gilt frame. Height, 614 inches; width, 934, inches 
From the Dr. Percy and J. P. Heseltine Collections. 


LODDON, NORFOLK 
Pencil and wash drawing. Signed. Gilt frame. 

Height, 6 inches; width, 11 imches 
Engraved in “Excursions through Norfolk in 1818”, by E. Roberts. 
From the Collection of J. P. Heseltine, Esq. 


DAVID COX 
1783-1859 


HADDON HALL IN THE OLDEN TIME 
Water color. A fine interior with a flagged hall, a musicians’ gal- 
lery and groups of figures gathered round two tables. Signed and 
dated ‘David Cox, 1841”. Framed. 

Height, 1314 inches; width, 191% wches 
Exhibited at the Victorian Era Exhibition, 1897. 
From the Collection of James Orrock, Esq., R.I. 
“The sketches of Haddon . . . will continue to be noteworthy as 
examples of slight, bold and broad execution, of work done in the 
fullest vigour of the artist, of draughtmanship.”—F. Wedmore in 
his “Studies in English Art’. 


27 


ALEXANDER COZENS 
1700-1786 


Cozens was a natural son of Peter the Great and an Englishwoman whom 
he took with him to Russia, where Cozens was born. The Czar sent him 
to Italy to study painting, for which he showed marked talent, and in 1746 
he came to England. He painted water color landscapes with much poet- 
ical feeling and was in high favor with all the great personages of his day. 


97 A MOUNTAINOUS LANDSCAPE 
Sepia wash drawing. Framed. Height, 9 inches; width, 12 inches 
From the Collection of J. P. Heseltine, Esq. 


JOHN ROBERT COZENS 
1752-1797 


Son of Alexander Cozens. In a letter to William Carpenter, Constable 
wrote of him: “I want to know when the younger Cozens was born; his 
name was John and he was the greatest genius that ever touched land- 
scape.” He was an intimate friend of William Beckford, of Fonthill, 
Author of “Vathek”, in an account of whose tour to Italy by Cyril Redding, 
occurs the passage: “Though but a few months returned from his former 
tour, Mr. Beckford commenced preparations for his second by engaging 
Mr. Cozens, an artist of considerable ability, to accompany him to Italy.” 


98 BAY NEAR HARLECH 
Water color. From the vantage point of the high cliffs the beautiful 
expanse of the bay is seen. Mountain and rolling hills in the back- 
ground. Gilt frame. Height, 10 inches; width, 14 inches 


JOSHUA CRISTALL 
1767-1847 


An English painter of rural subject pictures; with Barret, Havell, the two 
Varleys and others of lesser importance, he founded the English Society 
of Painters in Water Colours, which has evolved into the R. W. S. of 
to-day. 


99 A COUNTRY GIRL IN A SUNBONNET 
Water color. Signed and dated, “J. Cristall, 1816, Hurley, Berks.” 
Framed. Height, 121% inches; width, 9 inches 
From the Collection of J. P. Heseltine, Esq. 


28 


GEORGE CRUIKSHANK 
1792-1878 


Born in Bloomsbury; he started as a political caricaturist, but from 1819- 
21 gradually turned his attention to book illustration. His etchings for 
Grimm’s Fairy Stories are brimful of imagination and whimsicality, not 
one inch being without its droll elf or gay little fairy, with some extremely 
apt accessory. The two series of the “Sketches by Boz” began his long 
connection with Dickens. In 1847-8 he published “The Bottle’ and “The 
Drunkard’s Children”, which were his first contributions to the cause of 
temperance, which he ardently advocated. 


A MIDSUMMER NIGHT’S DREAM 
BY GEORGE CRUIKSHANK 


[NUMBER 100] 


100 A MIDSUMMER NIGHT’S DREAM 
Water color. The original finished painting from which Cruikshank’s 
print of that title was engraved. Gilt frame. 
Height, 1314 inches; width, 17 inches 
AN UNUSUALLY FINE SPECIMEN OF CRUIKSHANK’S WORK. 


[SEE ILLUSTRATION ] 
29 


101 


102 


103 


104 


105 


GEORGE CRUIKSHANK 


THE TRIUMPH OF CUPID: A REVERIE (1845) 

Pencil sketches. On the recto and verso of a single sheet. The artist 
is shown seated, and smoking a long pipe; Cupid is portrayed up to 
his various and oft-told pranks, seated in his Triumphal Chariot, 
etc. Signed. Height, 714, inches; width, 714 inches 
PRELIMINARY SKETCHES FOR THE FAMOUS ETCHING WHICH FIRST 
APPEARED IN THE FIRST NUMBER OF CRUIKSHANK’S “TABLE-BOOK”’, 
depicting the artist, seated, smoking before a grate, and surrounded 
by delineations of the triumphs of Cupid. The drawing bears com- 
ments of great interest in Cruikshank’s autograph; i.e.: “Let me 
see, what shall the first plate be—suppose we have—The Triumph 
of Cupid. Ladies & Gentlemen: I have the Honour, the ——, of 
appearing before you once more in a publication of my own’, etc. 


KILLING TIME 

Sepia wash drawing. A half-dozen men idling in various stages of 

boredom; one scribbles amorous nothings on a window pane; another 

thrusts with his rapier at the clock. Many detail studies for the 

drawing occupy the margins, pencilled with explanatory notes. 
Height, 9 inches; width, 11 inches 


TIME THROWN AWAY 

Wash drawing. Six charwomen scrub energetically at a large Negro 
in a washing-tub. Captioned: “Ah! you can never make a whistle of 
u pig’s tail!” Height, 81% inches; width, 11 inches 
A CHARACTERISTIC SPECIMEN OF THE ARTIST’S HUMOR. Published in 
1827, in the Artist’s “Illustrations on Time’’. 


A PRETTY TIME TO COME HOME (1827) 
Sepia wash drawing. An angered wife greets the return of her in- 
toxicated husband with arm outstretched towards the clock, the 
hands of which point to 3 A.M.; a child lies in bed crying; the cat, 
having eaten the waiting supper, leaps from the table in terror of the 
approaching quarrel. Pencilled studies in margin. 

Height, 81% inches; width, 11 inches 
Published in 1827 as a separate print. 


WORKING OVERTIME, MAKING MILITARY CLOTHES 
Pencil drawing. Tailors working in great haste. With pencilled 
studies and explanations in margin. 

Height, 814 inches; width, 11 inches 


50 


106 


107 


108 


109 


110 


THE ELVES AND THE SHOEMAKER 
Pencil drawing. Subject illustrating one of Grimm’s “German Popu- 
lar Stories”. Drawn on thin paper with caption below: “The Elves 
and the Shoemaker. Copied by me from my original design & etch- 
mg made by me in 1822 to illustrate the Grimms’ Popular German 
Stories Vol. 1, George Cruikshank March 1870”. Mounted. 
Height, 6 inches; width, 414 inches 
Made by Cruikshank for Hotten’s reprint of 1870, with introduction 
by Ruskin. 


TOM PUSS, AFTER HIS MASTER IS DRESSED, INTRODUCES 
HIM TO THE KING (1864) 

Water color and pencil drawing. Puss’s master, garbed as befitting 
“The Marquis of Carabas”, bows to the King, who, with his Queen, 
and surrounded by his Courtiers, sits in his coach. Tom Puss Is 
ABSENT, the drawing having presumably been left by the artist before 
inserting his tiny figure. Height, 8 inches; width, 5 inches 
Published in 1864 as an illustration to Number Four of “The Fairy 
Library’’. 


HOP-O’-MY THUMB AND THE SEVEN-LEAGUE BOOTS 
(1853) 
Pencil sketch. Design for wrapper, showing, in addition to the let- 
tering, the figures of the Giant Ogre in “Hop-o’-My-Thumb”, and 
that of Jack climbing the Bean-Stalk. 

Height, 9 inches; width, 7 inches 


HOP-O’-MY-THUMB AND THE SEVEN-LEAGUE BOOTS 
(1853) 

Pencil sketch. The Frontispiece. In two compartments, one show- 
ing the father and mother conspiring to get rid of Hop-o’-My-Thumb; 
the other depicts the abandoment of Hop-O’-My Thumb and his 
brothers in the wood. Height, 81% inches; width, 634, inches 
A SKETCH FOR THE FRONTISPIECE OF NUMBER ONE OF “THE FAIRY 
LIBRARY”’. 


SKETCHES | 
Pencil drawing. A seated man, smoking, beside a burning lamp; be- 
fore him bows an imp. Studies of heads in helmets with lowered and 
raised vizors. Apparently studies for ‘“Grimm’s “German Popular 
Stories”, or for “Aladdin and His Wonderful Lamp’”’. 

Height, 7 inches; width, 41% inches 
Listed in the upper left corner, in Cruikshank’s hand, are the titles 
of several of the tales in “German Popular Stories’”’. 


ol 


111 


5 MAGAZINE Ne LY No-t87o. 


TIMOTHY’S SHOES 
BY GEORGE CRUIKSHANK 


[NUMBER 111] 


TIMOTHY’S SHOES (1870) 

Water color. In three compartments, showing the Fairy Godmother 
giving the magic shoes to her Godchild; Timothy kicking off the 
shoes when they pinch him as he goes the wrong way; and at last the 
shoes, unaccompanied, and having performed their duty, walking 
away. Signed and dated. Height, 61% inches; width, 4144, inches 


A CHARMING DRAWING OF VERY FINISHED EXECUTION, to illustrate 
Mrs. Ewing’s “The Brownies and Other Tales’, 1871. Previously 
it and the story had appeared in “Aunt Judy’s Magazine”. The title 
and captions are neatly written in, and the whole completely finished. 


[SEE ILLUSTRATION ] 
By 


TOM PUSS AND THE KING 
BY GEORGE CRUIKSHANK 


[NUMBER 112] 


112 TOM PUSS AND THE KING (1864) 
Water color. In two compartments. In one Tom Puss runs up to the 
King’s Coach to tell him that his master, ‘““The Marquis of Carabas”, 
is in the river; in the other, Puss introduces his master to the King, 
who bows from his coach. AHeight, 814 inches; width, 514, inches 


IDENTICAL WITH THE PUBLISHED ETCHING IN NUMBER FOUR OF CRUIK- 
SHANK’S “FAIRY LIBRARY”’. 


[SEE ILLUSTRATION] 
33 


GEORGE CRUIKSHANK 


113 THE LAST SCENE IN THE LIFE OF SIR JOHN FALSTAFF 


114 


115 


116 


(1858) : 

Pencil sketch. The Fat Knight lies upon his death-bed. Mistress 

Quickly feels his feet under the sheets, ‘and they were as cold as 

any stone”. Several studies of Falstaff’s head, etc. fill the margins. 
Height, 734, inches; width, 1134. inches 

A PRELIMINARY SKETCH for the etching published in “The Life of 

Sir John Falstaff’. [See “Henry V’’, Act J, Scene 3.] 


JACK FALSTAFF BREAKING SKOGAN’S HEAD AT THE COURT 
GATE (1857) 
Pen and ink and pencil drawings. Two sketches on the recto and 
verso of a single sheet, showing two stages in the fight between 
Skogan and Falstaff when a youth, Page to the Duke of Norfolk. 
Height, 634, inches; width, 844, inches 
SKETCHES FOR THE ILLUSTRATION IN “The Life of Sir John Falstaff”. 
One is very similar to, the other very different from, the published 
etching. [See “Henry IV”, Part 11, Act II, Scene 2.] 


SIR JOHN FALSTAFF RECEIVING A MOST UNEXPECTED 
REBUKE FROM KING HENRY THE FIFTH (1858) 
Water color and pencil drawing. The Royal Procession halts by 
Westminster Abbey, and Falstaff kneels as the Young King ad- 
ministers his stinging rebuke: “I know thee not, old man: fall to 
the prayers; How ill white hairs become a fool and jester!” 
Height, 41% inches; width, 7 inches 
A SPLENDID EXAMPLE OF THE ARTIST’S WORK. Identical with the pub- 
lished etching in “The Life of Sir John Falstaff”. [See “Henry IV”, 
Part 1, Act Vv, Scene 5.] 


SIR JOHN FALSTAFF STEPPING INTO THE BUCK-BASKET 
(1858) 

Pencil sketch. The Fat Knight steps into the basket, while Mistress 
Ford and Mistress Page stand ready to heap the clothes upon him. 
The wide margins are filled with studies of the same subject and 
others. Height, 8 inches; width, 121% inches 
A PRELIMINARY STUDY, similar, with the exception of Falstaff’s posi- 
tion, to the etching published in “The Life of Sir John Falstaff”. 
[See “Merry Wives of Windsor”, Act III, Scene 3.] 


D4 


117 


118 


119 


120 


121 


122 


SIR JOHN FALSTAFF IN THE BUCK-BASKET (1858) 
Pencil sketch. The Fat Knight is almost hidden under the linen that 
Mistress Ford and Mistress Page heap upon him. 

Height, 414 inches; width, 7 inches 
Differing from the etching published in “The Life of Sir John Fal- 
staff’”’ only in the lesser detail with which the background is treated. 
[See “Merry Wives of Windsor’’, Act III, Scene 3.] 


MEN OF ALL SORTS TAKE A PRIDE TO GIRD AT ME (1857) 
Pencil sketch. Falstaff stands in a London street, his Page bears 
his sword and buckler. Height, 934, inches; width, 684, mches 
SKETCH OF THE DESIGN USED FOR THE WRAPPERS OF “The Life of Sir 
John Falstaff’. [See “Henry IV’, Part 11, Act I, Scene 2.] 


FALSTAFF AT THE BOAR’S HEAD TAVERN (1857) 
Pencil drawing. Group seated around the fireplace at the Boar’s 
Head Tavern. Falstaff, in the centre, holds a cup of sack in his 
hand and gazes imperiously at the serving-boy. In the margin are 
various small sketches, including a self-portrait of the artist. 
Height, 734, inches; width, 11% inches 
AN UNPUBLISHED DRAWING for “The Life of Sir John Falstaff’, 
apparently illustrating Falstaff’s dislike of the tavern sack: “You 
rogue, here’s lime in this sack, too!’ [See Henry IV, Part I, Act 0, 
Scene 4.] The published etching of this incident illustrates not the 
drinking, but the effect of the sack, i.e. the Fat Knight’s recital of 
his prowess at Gadshill. 


SKETCHES OF THE HEADS OF FALSTAFF AND BARDOLPH 

(circa 1857) 

Water color and pencil drawings. Four fine studies of heads, for the 

illustrations to “The Life of Sir John Falstaff”. On one sheet. Signed. 
Height, 414 inches; width, 31% inches 


ATTACK UPON THE BRASS MOUNT BY LORD GUILFORD 
DUDLEY 

Pen and water color drawing. A scene of terrific battle and siege. 
Mounted. Height, 4 inches; width, 514 inches 
Illustrating perhaps the “Tower of London” by Ainsworth. 


MASQUE IN THE PALACE GARDEN OF THE TOWER 

Pen and water color drawing. A queen and her court appear on a 
baleony watching the mad revels of grotesque knights and jesters 
below. Mounted. Height, 4 inches; width, 51% wches 
An illustration perhaps for one of Ainsworth’s historical novels. 


B13) 


HERNE THE HUNTER APPEARING TO HENRY VIII 
ON THE TERRACE 
BY GEORGE CRUIKSHANK 


[NUMBER 123] 


1283 HERNE THE HUNTER APPEARING TO HENRY ON THE 


TERRACE (1843) 
Water color. The Hunter, holding a chain, and with his antlers 
silhouetted against the night-sky, threatens Henry VIII from the 
battlement. Henry stands back, drawing his sword. Signed. 
Height, 514, inches; width, 414 inches 
Identical with the etching, published in 1843, to illustrate Ains- 
worth’s “Windsor Castle’, with the curious exception that in this, 
the original drawing, there is no indication of the storm luridly 
described by Ainsworth,—on the contrary, the taunting of Henry 
takes place in bright moonlight. 


[SEE ILLUSTRATION ] 
36 


ue) te oe, 


124 


125 


126 


127 


SIR BULKELEY PRICE BRINGING THE MORTGAGE MONEY 
TO MR. SCARVE (1842) 
Water color. Sir Bulkeley, mounted, bows from the centre of the 
crowded street in the quaint town, to Mr. Scarve in his doorway. 
The Miser’s daughter runs towards the deliverer with hands and 
eyes upraised in a gesture of thankfulness. Signed. 

Height, 5 inches; width, 414, inches 
Virtually identical with the etching as it was published to illustrate 
Ainsworth’s “‘The Miser’s Daughter’’. 


THE DISCOVERY OF THE MYSTERIOUS PACKET (1842) 
Water color. The Miser sits huddled in his chair beside the fire; 
Hilda, having opened the casket, holds the mysterious packet in her 
hands. Height, 5 inches; width, 414 wnches 
Identical with the published etching illustrating Ainsworth’s “The 
Miser’s Daughter’. 


THE PROCESSION OF JACK SHEPPARD FROM NEWGATE TO 
TYBURN (1839) 
Pencil and water color drawing. In three compartments, showing 
Jack’s removal from Newgate; Blueskin’s attempted rescue on Hol- 
born Hill; and Jack Sheppard drinking from the St. Giles’s Cup. 
Height, 514 inches; width, 4 inches 
Published as an illustration to the closing scenes of Ainsworth’s 
famous novel. 


A NIGHT OF HORROR (1842) 

Pencil sketches. Fourteen little sketches of figures and heads on one 
sheet. Height, 91% inches; width, TV4, inches 
Published in the “Omnibus”, 1842. 


37 


RIVAL FOUN 


o8 eS 


THE RIVAL FOUNTAINS 
OR, GIN AND WATER 
BY GEORGE CRUIKSHANK 


[NUMBER 128] 


128 THE RIVAL FOUNTAINS; OR, GIN AND WATER 

Two water colors. One shows the appealing wife and her unhappy 
children (one of whom, a little girl, drinks unseen from a half empty 
gin-bottle) leading her staggering husband home; the other de- 
picts a happy family, quenching their thirst at a Public Drinking 
Fountain. Signed. Mounted together. 

Height of each, 8 inches; width, 6 inches 
ONE OF CRUIKSHANK’S GREAT DESIGNS FOR HIS FAMOUS SERIES OF 
TEMPERANCE PICTURES. Published, with two other subjects, as a sep- 
arate print by William Tege. . a 


[SEE ILLUSTRATION ] 
38 


129 


130 


131 


132 


133 


134 


135 


FIGURES OF TWO MEN 

Water color and pencil drawing. Two men, one seated upon the 
ground, mopping his brow, the other standing before him and lean- 
ing upon a staff. Height, 5 inches; width, 4 inches 


THE BRITISH BEE-HIVE 
Pencil drawing. Depicting allegorically the several strata of British 
Society and their denizens, in the cuise of a Bee-Hive, surmounted 
by the Queen. Signed with small self-portrait. 

Height, 914 inches; width, 8 inches 


THE GOLDEN SPOON 
Pencil drawing. In four compartments, separately entitled: The 
Golden Spoon; Bubbles; Life’s Scramble; The World’s Idol. Depict- 
ing the pursuit of Love and Gold. 

Height, 834, inches; width, 7 inches 


PORTRAITS. 
Pencil drawings. Sketches of characters: A Fop; a Cockney smok- 
ing; studies of hands, etc. Signed. 

Height, 7 inches; width, 4 inches 


FAIRIES AND SUNDIAL 
Pencil drawing. Imps and fairies dancing upon a sundial. With 
marginal figure studies. Height, 614, inches; width, 614 inches 


BETWEEN THE DEVIL AND THE DEEP SEA: CANDLEMAS 
DAY 

Pencil drawing. Irish clergy and laity struggling over a huge candle. 
With ecclesiastical background, within frame of candles, figures, mis- 
sals, snuffers, etc. Beneath, the Devil stands gazing out to sea; on 
either side are St. George and the Dragon; at the top, two weeping 
cherubs. Height, 814 inches; width, 714, inches 


CARVING THE CHICKEN 
Water color and pencil drawing. The Head of the House is, with 
difficulty, exercising his privilege; his stout wife, two half-grown 
children, and the dog, are devouring voraciously their portions; the 
youngest child and the cat wait wistfully. 

Height, 214, inches; width, 434, inches 


39 


136 


137 


138 


139 


140 


GEORGE CRUIKSHANK 


A MOST ADORABLE LADY 

Water color and pencil drawing. Men in various attitudes of con- 

flict and adoration form a circle around a Lady, who, seated upon a 

pile of gold-bags, the cone-shaped formation of which is capped by 

her wide hoop-skirt, coyly hides her smiling lips behind a fan. 
Height, 7 inches; width, 91% inches 


GOING A-COURTING 
Water color and pencil drawing. A little counting-house clerk walks 
down the street, with a tell-tale placard on his back. Passers-by and 
the street-urchins gibe at him. He is self-conscious and indignant, but 
unable to account for their clairvoyance. Signed. 

Height, 414 inches; width, 34% inches 


COACHMAN AND SERVANT : 
Water color drawing. Coachman and Negro Servant, seated at table, 
drinking wine. With legend: “Come, Massa Coachman, may present 
moment be wors in our lives!!” 

Height, 7144 inches; width, 614, inches 


INTERIOR SCENE WITH FIGURES 
Wash drawing. Interior, with figures in the costume of the Restora- 
tion, seated around a fireplace. 

Height, 414 inches; width, 3 mches 


WILLIAM CRUIKSHANK 
EXHIBITED AT THE ROYAL ACADEMY, 1866-79 


A PAIR OF GAME PICTURES 
Miniature paintings on ivory. A beautifully painted pair. One 
showing hare and wood pigeons, the other wild duck and dotterel. 
Both signed. Framed. (2) 

Height of each, 484, inches; width, 534, inches 


40 


SALE 


141 


142 


143 


144 


145 


WEDNESDAY EVENING, MARCH THIRD, AT EIGHT-FIFTEEN 


SECOND SESSION 


NUMBERS 141-249 


T. RAFFLES DAVISON 
CONTEMPORARY ENGLISH 


WESTMINSTER ABBEY 
Pen and ink drawing. Framed. 
Height, 14 inches; width, 9 inches 


LANDSCAPES AND SHIPS 
Colored chalk drawings. Two landscape sketches, and a sketch of 
anchored sailing vessels. Framed. (3) 

Height, 814, 914, and 13 inches; width, 1214, 1314, and 9 inches 


LANDSCAPES 
Colored chalk drawings. Three landscape sketches. Framed. (8) 
Height, 6, 9, and 1314 inches; width, 1114, 1314, and 914 inches 


LANDSCAPES 
Colored chalk drawings. Three landscape sketches. Framed. (8) 
Height of each, 9 inches; width, 13 inches 


LANDSCAPES : 
Colored chalk drawings. Three landscape sketches. Framed. (3) 
Height of each, 9 inches; width, 13 inches 


HENRY DAWSON 
1811-1878 


Byron Webber in his “James Orrock, R.I.”’, page 30, quotes Orrock on the 
subject of Henry Dawson as follows: “He was a splendid point-draughts- 
man who could draw with vigor and delicacy everything in landscape and 
seascape art. His knowledge of English shipping, from the line-of-battle- 
ship to the Thames or Trent barge, was consummate. No one, not even 


1A a 


146 


Harding, could draw trees more learnedly or more aritstically’’. 


A STUDY OF TREES IN OCTOBER 
Water color. Signed with initials. Gilt frame. 
Height, 1234, inches; width, 1834, inches 


Al 


PETER DE WINT 
1784-1849 


Born in England; his father was a physician descended from a Dutch 
family which had settled in America. He was not only one of the finest 
water color painters of the English School, but was also an admirable 
painter in oils. His subjects were mainly found in the north-east of Eng- 
land, his own locality. 


147 


148 


149 


150 


LONDON FROM GREENWICH 
Water color. From the hills at Greenwich one looks across the 
Thames with its busy shipping and sees the distant dome of St. 
Paul’s, the spires of Westminster, etc. Gilt frame. 

Height, 5 inches; width, T4%4 inches 
Exhibited at the Manchester Fine Art Exhibition. 
From the Collection of James Orrock, Esq., R.I. 


LANDSCAPE WITH CATTLE 
Water color. In a cool quiet stream a herd of cattle are drinking 
and wading. The bright sunlight reflected in the meadows on either 
bank forms a strong contrast to the deep shadows in the grove of 
huge elms in the background. Gilt frame. 

Height, 8 inches; width, 12 inches 


[SEE ILLUSTRATION | 


A VILLAGE SCENE WITH COTTAGES AND BARNS 

Water color. A splendid example of the artist’s broad and sure 
brush work. Gilt frame. Height, 12 inches; width, 18 inches 
From the Collection of James Orrock, Esq., R.I. 


A ROAD SCENE WITH COTTAGES 

Water color. With cottages, pond and a horseman at the gate. Gilt 
frame. Height, 914 inches; width, 1314 inches 
From the Collection of James Orrock, Esq., R.I. 


A2 


LANDSCAPE WITH CATTLE 
BY PETER DE WINT 


[NUMBER 148] 


SIR FRANK DICKSEE, P.R.A. 
CONTEMPORARY ENGLISH 


151 THE MAGIC CRYSTAL 


152 


153 


Water color. Full-length figure of a woman, seated in a gold chair, 
gazing intently into a crystal ball which she holds in her right hand. 
Initialled “F.D.” Framed. 
From the Collection of James Gresham, Esq. 
Exhibited at the Royal Academy, 1924. 

Height, 12 inches; width, 734, ches 


GEORGE HAYDOCK DODGSON 
1811-1880 
CATHEDRAL INTERIOR 
Water color. Faint signature in corner. Gilt frame. 
Height, 514, inches; width, 814, inches 


THE FERRY 

Water color. In the foreground of a beautiful summer landscape, 
a small barge with farmers and their team aboard, is guided across 
the stream. Rolling hills form the background. Signed. Gilt 
frame. Height, 16 inches; width, 27 inches 


44 


JOHN DOWNMAN, A.R.A. 
1750-1824 


Famous for his pencil and wash portrait drawings. He studied under Ben- 
jamin West, P.R.A., who was born in America in 1738, under whose por- 
trait he wrote “the great historical painter, my most beloved teacher’. He 
has left portraits of representatives of almost every family of any import- 
ance in England. He made a habit of inscribing the names of the sitters 
and sometimes their peculiarities and temperaments on his sketches, thus 
enabling them to be identified. 


MISS ANDREWS AS CUPID 
BY JOHN DOWNMAN, A.R.A. 


[NUMBER 154] 


154 MISS ANDREWS AS CUPID 
Colored chalk drawing. A composition of most exquisite and delicate 
beauty. Its charm of color and grace of line exhibits the touch of 
the master hand. Gilt frame. Height, 14 inches; width, 111% inches 


[SEE ILLUSTRATION | 
45 


PORTRAIT OF A YOUNG LADY 
BY JOHN DOWNMAN, A.R.A. 


[NUMBER 155] 


155 PORTRAIT OF A YOUNG LADY 


Beautiful water color drawing. Half-length, in profile. White dress 
with sash, hair bound with white bandeau. Signed “J. Downman”’. 


Oval, in gilt frame. Height, 91% inches; width, TY inches 
A delightful drawing of a beautiful young lady. 


[SEE ILLUSTRATION ] 


46 


PORTRAIT OF A YOUNG GIRL PORTRAIT OF A LADY 
BY JOHN DOWNMAN, A.R.A. BY JOHN DOWNMAN, A.R.A. 
[NUMBER 156] [NUMBER 157] 


156 PORTRAIT OF A YOUNG GIRL 
Crayon drawing, face tinted. MHalf-length, profile. Signed with 
characteristic initial monogram and dated 1780. Oval, in gilt frame. 
Height, 71% inches; width, 6 inches 
From the Collection of Admiral Lord Walter Talbot Kerr, Brocket 
Hall, New Hatfield, Hertfordshire, England, 1923. 


[SEE ILLUSTRATION | 


157 PORTRAIT OF A LADY WITH POWDERED HAIR 
Crayon drawing, with slight touches of color. Signed “J. Downman”. 
Oval, in gilt frame. Height, 7 inches; width, 534, inches 


[SEE ILLUSTRATION ] 
47 


PORTRAIT OF MISS STORACE 
THE NOTED SINGER 
BY JOHN DOWNMAN, A.R.A. 


[NUMBER 158] 


158 PORTRAIT OF MISS STORACE, NOTED SINGER 


159 


160 


Black chalk and wash drawing. Bust-length, almost profile. Gilt 
frame. Height, 8 inches; width, 6 inches 
Miss Storace was a well known singer whose portrait as ‘‘Sefora 
Storaci” was engraved by Condé. 

From the Collection of J. P. Heseltine, Esq., 1920. 


[SEE ILLUSTRATION | 


PORTRAIT OF A YOUNG WOMAN IN A MOB-CAP 


Black chalk and wash drawing. Bust in profile. Subject with pleas- : 


ing expression, coquettish curl hanging over her right shoulder. 


Oval, in gilt frame. Height, 8 inches; width, 634, inches 
From the Collection of J. P. Heseltine, Esq., 1920. 


A LADY IN WHITE DRESS AND WHITE MOB-CAP 

Beautiful pastel drawing. Subject shown bust-length, body three- 
quarters to right, face full front. Signed “J. Downman”. Oval, in 
gilt frame. Height, 81% inches; width, 634, inches 


48 


ae 
A . » Bee 


GEORGE LOUIS DU MAURIER 
1831-1896 


Du Maurier was born in Paris; he was the author Olan LTiuOY Bo Peter 
[bbetson’’, etc., and one of the greatest illustrators of his day. He joined 
the staff of “Punch” as Leech’s successor, and his satires on the social 
life of his day display fine craftsmanship and a rare knack of depicting 
characteristic types without exaggeration or malice. 


161 FELINE AMENITIES 
Pen drawing. Signed, with long caption in the artist’s hand; also 
signed and dated June, 1887. Framed. 
4 Height, 5 inches; width, 814, inches 


W. ETTY, R.A. 
1787-1849 


162 STUDY OF TWO NUDE WOMEN 
Black and white chalk on buff paper. Signed. Framed. 
Height, 13 inches; width, 14 inches 
There is an unfinished portrait group by Sir Thomas Lawrence for 
which Etty probably made this study. 
From the Collection of J. P. Heseltine, Esq. 


AQ 


ANTHONY VANDYKE COPLEY FIELDING 
1787-1855 _, 


Copley Fielding was one of the foremost painters of landscape in water 
color of the English school; he generally selected marine views; the value 
of his work was fully recognized in his lifetime and in 1831 he was elected 
President of the Water Colour Society. Much of his work was engraved. 


SCARBOROUGH 
BY COPLEY FIELDING 


[NUMBER 163] 


163 SCARBOROUGH | pie 
Water color. Early morning—a scene on the beach at low tide, with 
stranded boats and fishermen, the rising sun reflected in the water. 
A superb example of unusually large proportions. Signed “Copley — 
Fielding”. Framed. Height, 25 inches; width, 384% inches 
From the Collection of T. W. Wright, Esq., Mosley Vale House, 


Edinburgh, 1923. 
[SEE ILLUSTRATION | 
50 


JOHN FLAXMAN 
1755-1826 


Sculptor and draughtsman; he was employed at the Wedgwood factory as 
a modeller, and designed many of the monuments to famous people in St. 
Paul’s Cathedral and Westminster Abbey. He was elected Royal Aca- 
demician in 1800. 


164 


165 


166 


167 


168 


169 


ELEVEN PEN AND INK STUDIES 

Four are evidently designs for reliefs on Wedgwood pottery; the 
remainder are street scenes in Italy. In three frames. Various 
SIZes. 


THE DAY OF JUDGMENT 
Sepia. A fine study of falling male figures. Framed. 

Height, 1714 inches; width, Tl inches 
From the Collection of Richard Norton, Esq., Boston, Mass. 


STUDIES FOR BAS-RELIEFS 
Pencil and wash drawings. Subjects form a pair. Framed. (2) 


THREE PEN AND INK SKETCHES 
Framed. (3) 
From the Collection of Richard Norton, Esq., Boston, Mass. 


ELEANOR FORTESCUE-BRICKDALE, A.R.W.S. 
CONTEMPORARY ENGLISH 


KATE, THE QUEEN OF CYPRUS 
Water color. In rich attire, with a hooded falcon on her gloved hand; 
in a smaller picture beneath, Cupid lying maimed, while feathers 
plucked from his wing are outweighed in a balance by jewels. In- 
itialled “E.F.B.” Framed. 

Height of the two, 20 inches; width, 93%, inches 


SAMUEL FREEMAN 
1773-1857 


THE DARLING AWAKE; and, THE DARLING ASLEEP 

Stipple engravings printed in colors after the drawings by Adam 
Buck. Published May 1, 1809, by R. Ackermann. Gilt frames. (2) 
From the Barratt Collection. : 


51 


170 


171 


172 


ANNIE FRENCH 
CONTEMPORARY ENGLISH 


THREE GIRLS IN A GARDEN 
Pen and ink and water color. 
“Kvening descended from Heaven above, 
And the Earth was all peace and the air was all love.” 

“The Sensitive Plant”, by Percy Bysshe Shelley 

Signed “Annie French”. Gilt frame. 
Height, 1114 inches; width, 111% inches 

Exhibited at the Royal Academy, 1924. 


THE SCENT OF ROSES 

Pen and ink and water color. A young woman and a little girl bend- 

ing over a bunch of roses. Signed “Annie French”, Gilt frame. 
Height, 6 inches; width, 934, inches 


THE SPIRIT OF THE ROSE 
Pen and ink and water color. A young woman, crowned with roses, 
from which flows a brocaded veil, is holding aloft a bowl of roses. 
Signed ‘Annie French’’. Gilt frame. 

Height, 10 inches; width, 6 inches 


THOMAS GAINSBOROUGH 
1727-1788 


One of the great masters of the English landscape school and the only one 
of Reynolds’ contemporaries who maintained a successful rivalry with him 
in portraiture. 


173 


A VALLEY SCENE 

Water color sketch. A stream and a narrow road pass between two 
cliffs; a peasant drives his sheep homeward on the left; on the right 
two cows graze in the deepening shadows of the late afternoon. The 
last rays of the setting sun are reflected on the distant hills. Gilt 
frame. Height, 1714 inches; width, 231% inches 
From the Collection of Fairfax Murray, Esq. 


52 


174. CATTLE IN A WATER MEADOW 


175 


Sepia wash drawing. A drawing of simple charm expressing an 
atmosphere of fog and rain. Framed. 


Height, 714, inches; width, 914 inches 


A MARKET CART ON A COUNTRY ROAD 

Wash drawing, with faint tints of color. Trees and a pool of still 
water to the left of the road give an impression of a quiet dreary 
day. Framed. Height, 734, inches; width, 934, inches 


DANIEL GARDNER 
1750-1805 


Gardner is recognized as one of the foremost painters of portraits in pas- 


tel of the English eighteenth century school; he was born at Kendal and 


studied at the Royal Academy, where he was a great favorite of Sir 
Joshua Reynolds. He confined his work almost exclusively to small por- 


traits in water color and chalks, for which he obtained commissions from 
members of the most important families of his day. 


176 MARQUESS OF CHOLMONDELEY 


Gouache. George James, eldest son of George, 3rd Earl of Cholmonde- 
ley; born May 11, 1749; succeeded his father as 4th Earl in 1770; 
married about April 25, 1741, Georgiana Charlotte, second daughter 
of 3rd Duke of Ancaster; Knight of the Garter, Lord Steward of the 
Household and Chamberlain of Chester; created Marquess of Chol- 
mondeley November 22, 1815; died April 10, 1827. 
Small full-length as a young man, in brown coat, white vest and 
breeches, with high boots, standing in a landscape, holding a stick in 
his right hand and his hat in his left. 

Height, 331% inches; width, 231% inches 
Given by Lord Cholmondeley to the ereat-great-grandfather of the 
owner, from whom it came to Lord Leverhulme May 11, L228; 


53 


THOMAS GIRTIN 
1773-1802 . 


Girtin’s name will always be associated with the development of English 
water color painting; his manner was bold and vigorous, every subject he 
selected being invested with sentiment and power. About twelve months 
before his early death he visited Paris, and twenty of the views he etched 
there were published on his return. 


177 


178 


179 


L180 


181 


A RIVER SCENE 
Water color. Fine finished sketch. Gilt frame. 

Height, 5 inches; width, 714 inches 
No greater praise of Girtin can be given than to quote the words of 
J. M. W. Turner. He said: “Had Girtin lived, Turner would have 
starved.” 


RIVER SCENE, SHOWING VILLAGE IN THE DISTANCE 
Water color. For a sketch of its size it gives a most remarkable con- 
ception of great distance. Gilt frame. 

Height, 314, inches; width, 714 inches 


LANDSCAPE WITH CLUMPS OF TREES 
Water color. Looking over the brow of a hill one sees the rolling 
valley below. Gilt frame. Height, 4 inches; width, 634, inches 


COUNTESS F. GLEICHEN 
CONTEMPORARY ENGLISH 


ON THE SIMPLON ROUTE 
Water color. Trees and buildings in middle distance; snow-covered 
Alps in backgrond. Framed. 

Height, 914 inches; width, 1334, inches 


F. C. GOULD 
CONTEMPORARY ENGLISH 


MACBETH’S EXCUSE; THE PATH OF GLORY; THE 
LUSITANIA 
Three pencil drawings. Signed. Framed. (8) 

Average height, 14 inches; width, 11 inches 


54 


CHARLES GREEN 
ENGLISH, EARLY 19TH CENTURY 
182 CHARITY 
Water color. A workman offering his can to an aged beggar. In- 
itialled “C.G.”’ Guilt frame. Height, 514 inches; width, 614 inches 


C. GRIFFITHS 
CONTEMPORARY WELSH 


1838 ST. TUDWELL’S ISLAND 
Water color. A decorative landscape and seascape. Signed. Framed. 
Height, 7 inches; width, 814% inches 


WILLIAM HAMILTON, R.A. 
1751-1801 


Wiiliam Hamilton was of Scottish extraction; he was clerk to the archi- 
tect, Robert Adam, who took him to Italy. He painted historical pictures 
and portraits, but later was employed by Boydell as an illustrator of his 
edition of Shakespeare. He received £600 for his picture of Lord Fitz- 
gibbon’s Stage Coach; the painting is now in the South Kensington 
Museum, England. 


184 STUDY OF A NUDE MODEL 
Pencil and color chalk. Framed. 
Height, 1414 inches; width, 1114 inches 
From the Collection of J. P. Heseltine, Esq. 


DUDLEY HARDY 
CONTEMPORARY ENGLISH 


185 THE FISH MARKET (1887) 
Pen and ink and charcoal drawing. Woman emptying basket of 
fish, and groups of vendors, loiterers, and passers-by. Signed and 
dated. Framed. Height, 1014 inches; width, 15 inches 


GERTRUDE HAYES 
[Mrs. A. K. MORGAN] 
CONTEMPORARY ENGLISH 
186 ALGIERS 
Water color. A fine landscape with trees and figures. Signed “G. 
Hayes”. Gilt frame. Height, 1014 inches; width, 144% inches 
Exhibited at Gieves’ Art Gallery, London, 1922. 


5D 


187 


188 


189 


190 


191 


192 


WILLIAM HEATH 
1795-1840 .- 


THE FROST FAIR ON THE THAMES IN 1814 
Water color. Waterfront, with pleasure-seekers on the ice; St. Paul’s 
in the distance. Framed. Height, 13 inches; width, 19 inches 


BLACKFRIARS BRIDGE (circa 1820) 
Water color. The Surrey approach to the Bridge, with passers-by 
in the foreground; St. Paul’s in the distance. Framed. 

Height, 1114, inches; width, 1634, inches 


JAMES HOLLAND 
1800-1870 


RIALTO BRIDGE; LIGHTHOUSE AND ROUGH SEA; SEASCAPE 
AND SHIP 
Water colors. Circular, in gilt frames. (3) 

Diameter of each, 6 inches 
From the Collection of Alexander Huth, Esq., 1916. 


VENICE 
Water color. Scene from the bay. Gilt frame. 

Height, 3 inches; width, 10 inches 
From the Collection of Alexander Huth, Esq., 1916. 


LANDSCAPES 
Pen and water colors. Gilt frames. (38) 

Height, 3 and 4 inches; width, 5 and 634 inches 
From the Collection of Alexander Huth, Esq., 1916. 


WILLIAM HOLYOAKE 
ENGLISH, 1834-1894 


HEAD OF A SPANISH GIRL 
Sketch in oils on paper. Framed. 
Height, 12 inches; width, 914 inches 


56 


LEDA AND THE SWAN 
BY JEAN BAPTISTE HUET 


[NUMBER 193] 


JEAN BAPTISTE HUET 
1745-1811 
193 LEDA AND THE SWAN 

Pencil and water color drawing. Beside a protecting embankment 
Leda, in draperies of delicate pink and white, is startled by the awk- 
ward advances of the swan, who is led to her side by Cupid Vulcan 
in the form of an eagle is seen on the top of the enbankment being 
warned away by an amorino. Two of Leda’s companions are reclin- 
ing at the right. Signed to the lower left and dated 1790. Old gilt 
frame. Height, 10 inches; width, 151% inches 
A charming ensemble possessing great delicacy and sentiment. 
From the Collection of George Harland-Peck, Esq. 


[SEE ILLUSTRATION ] 


Oo” 


OZIAS HUMPHREY, R.A. 
ENGLISH, 1742-1810 


Humphrey was originally a miniaturist, but found this class of work so 
trying that he devoted himself exclusively to pastel portraits. In 1766 
one of his miniatures was purchased by King George III, who commis- 
sioned him to paint miniatures of the Queen and other members of the 
Royal Family. In 1785 he visited the East and amassed a considerable 
fortune by painting some of the Hindu Princes and their suites. 


194. PORTRAIT OF THE REV. MR. PERMEEK (?7PENNECK) 


195 


196 


LOT 


198 


Pastel. Head and shoulders, facing the spectator; hair powdered; 
wearing black coat and white stock. Framed. 
Height, 23 inches; width, 19 inches 


WILLIAM HENRY HUNT 
1790-1864 


STUDY OF A MAN’S HEAD 
Water color. Signed. Gilt frame. 
Height, 81% inches; width, 61% inches 


A NEGRO BOY WITH A TAMBOURINE 

Water color. Gilt frame. Height, 11 inches; width, 734, inches 
Exhibited at the Royal Academy, 1908. 

From the John Morley and James Orrock Collections. 


ILLUMINATED INITIAL 


ILLUMINATED INITIAL “A” (FLEMISH, XVIITH CENTURY) 
On vellum. Depicting a man on horseback, a rabbit, etc. Ilumi- 
nated in colors. Framed. Height, 314 inches; width, 234 inches 


ILLUMINATED INITIAL 


ILLUMINATED INITIAL THETA (ITALIAN, XVITH CENTURY) 
On vellum. Containing a Christus with the Dove in His left hand, 
to which he points with His right; two Apostles in middle distance; 
background of primitive landscape and starry sky. Illuminated in 
eolors and gold. Framed. Height, 314, inches; width, 31% mches 


58 


ee 


CHARLES SAMUEL KEENE 
1823-1891 


The well-known humorous artist who contributed regularly to “Punch’’. 
He was a consummate artist in black and white, a fact his own countrymen 
did not appreciate until he was awarded a Gold Medal at the Paris Exhi- 
bition in 1890. 


LoD 


200 


201 


202 


203 


204 


HERE’S A PRETTY DISCOVERY INDEED 

Water color. A tailor, with his scissors, kneels at a keyhole, with 

an expression of shocked amazement at what he has seen within. 

The door, painted upon a cardboard flap, opens and reveals an old 

rake in amorous dalliance with a buxom chambermaid. Framed. 
Height, 714 inches; width, 614, inches 

A SPLENDID EXAMPLE OF KEENE’S SKILL. 


“HOLD TIGHT, YER ’ONER” 
Homorous pen and ink sketch, illustrating an incident of an Eng- 
lishman’s ride in an Irishman’s cart. Framed. 

Height, 414 inches; width, 7 inches 


A NOTE AND A QUERY; A GOOD LISTENER 
Original pen and ink drawings, for illustrations in “Punch”. 
Framed. (2) Height of each, 614 inches; width, 414, wnches 


A MISCONCEPTION; OFFICERS’ GRIEVANCES; PICTURE 


HANGING 
Pen drawings, all of a humorous character. Two signed with ini- 


tials. Framed. (8) 


JUBILEE TIME 
Pen and wash drawing. Caption in the artist’s hand and presenta- 
tion inscription: “To J. Crawhall with C. Keene’s kind regards, 


Punch, June 27, 1887.” Framed. 
| Height, 9 inches; width, 534, inches 


From the Collection of E. F. J. Deprez, Esq., St. Amands, Lynd- 
hurst, Hampshire, England. 


PUT TO THE ROUT 
Pen and ink. Signed with initials. Framed. 
Height, 5 inches; width, T inches 


From the Collection of E. F. J. Deprez, Esq. 
59 


SRIMATI D. BUTCHI KRISHNAMMA 


205 RADHA AND KRISHNA : 
Water color. The traditional scene of Hindu legend. Signed. 
Framed. Height, 171% inches; width, 834, inches 


THEODORE LEMOINE LAGRON 
CONTEMPORARY FRENCH 
206 STILL LIFE 
Water color. Dahlias in a pottery jar. Signed and dated “Th. 
Lemoine Lagron, 1922”. Framed. 
Height, 15 inches; width, 2114 inches 


207 STILL LIFE 
Water color. Chrysanthemums and autumn leaves in a jar. Signed 
and dated “Th. Lemoine Lagron, 1922”. Framed. 
Height, 15 inches; width, 2034 inches 


JOHN LEECH 
1817-1864 


Famous as a cartoonist, humorous artist and illustrator. He contributed 
regularly to “Punch” from 1854 until his death. The amount of expression 
he put into every face in a crowded sketch is amazing, and his drawings 
are full of pathos as well as humor. He loved horses and his sporting 
sketches are very fine. 

In 1854, writing about “Pictures of Life and Character’ reprinted from 
“Punch”, Thackeray declared: “There is no blinking the fact that in Mr. 
Punch’s cabinet John Leech is the right-hand man. Fancy a number of 
‘Punch’ without Leech’s pictures! What would you give for it? . 
With what dexterity he draws a horse, a woman, a child!” 


208 A FAMILY GROUP: BABY STIRRING THE PUDDING 
Original pencil drawing for the artist’s Christmas contribution to 
“Punch”. The caption in his hand. Mounted with the woodcut of 
the same. Framed. Height, 7 inches; width, 8 inches 


60 


209 


210 


211 


212 


SET OF FIVE ORIGINAL ILLUSTRATIONS FOR HALIBURTON’S 
“THE CLOCKMAKER” 

Five pencil and water color drawings illustrating the Third Series, 
1840. All framed. (5) Average height, 5 inches; width, 4 inches 
The drawings are entitled: 

“Only a remarkable Development, says I’ (frontispiece) 

Behind the Scenes (page 35) 

The Black Brother (page 45) 

Patriotism (page 93) 

“What do you think of Socialism?” (page 202) 


WHERE IGNORANCE IS BLISS, ’TIS FOLLY TO BE WISE 

The original pencil sketch for the above subject, from “Punch”, with 
caption in the artist’s hand. Mounted with the woodcut of the 
same. Framed. Height, 9 inches; width, 7 inches 


A BRILLIANT IDEA 
Water color. Street-urchins at play. With caption and legend in 
the artist’s hand: “Matilda: ‘Oh, look here, Tommy! s’pose we play 
at your being the big footman, and me and Lizzerbuth’ll be the fine 
ladies in the carriage!’ Framed. 

Height, 6 inches; width, 41% inches 


DONKEY RACING 

Pencil drawing. Group of young ladies mounted on galloping 
donkeys, while the figure of Mr. Punch sits by the roadside in grin- 
ning appreciation. Mounted with the woodcut of the subject. 
Framed. Height, 3 inches; width, 614 inches 


61 


213 


214 


215 


216 


JOHN LEECH 


ON THE SANDS AT SUNSET 

Crayon drawing. An invalid lady of aalee seated in a wheelchair 
is taking the air at the seashore; footmen and maids appear in the 
background. Framed. Height, 434, inches; width, 714, inches 


A REFLECTION 
Pencil sketch, with long caption of a humorous conversation in the 
artist’s hand. Framed. Height, 7 inches; width, 5 inches 


A GREAT LIBERTY 
Water color drawing. Scene at a children’s party. Signed in full 
and with caption. Framed. Height, 41% inches; width, 61% inches 


THE MARCH OF SPECULATION 
Original pencil drawing for the subject as it appeared in “Punch”. 
Mounted with the woodcut of the same. Framed. 

Height, 9 inches; width, 7 inches 


ATTRIBUTED TO JOHN LEECH 


217 OPHELIA 


Pen and pencil sketch. Two studies of the character from “Hamlet”. 
Framed. Height, 9 inches; width, T inches 


62 


ALPHONSE LEGROS 
1837-1911 


Born at Dijon in France. Fora long time he won recognition from only 
a very narrow circle of friends; but encouraged by Whistler, he left France 
for England, where he received a warm welcome from Rossetti and Watts. 
After a short interval he was elected to the Slade Professorship of Fine 
Art at University College, London, and many famous artists studied under 


him. His work is now represented in all the important museums in the 
world. 


LE LABOURAGE 
BY ALPHONSE LEGROS 


[NUMBER 218] 


218 LE LABOURAGE—PLOUGHING se 
Pen and sepia wash drawing. A pair of horses are exhibiting their 
willing efforts to drag a plough up hill, while behind the farmer 
bends to his straining task of guiding the implement to its straight 
furrow. Signed. Frame. Height, 1814 inches; width, 261% inches 
A SPLENDID EXAMPLE. Exhibits great strength and surety of exe- 
cution. 
[SEE ILLUSTRATION | 


63 


219 PORTRAIT OF LORD LEIGHTON 
Pencil drawing. The artist’s original for the famous and beautiful 
etching of this same subject. Signed and dated 1878. Framed. 
Height, 15 inches; width, 10 inches 
From the Collections of Lord Leighton, P.R.A., and Francis Edward 
Bliss, Esq. 


PORTRAIT OF G. F. WATTS, R.A. 
BY ALPHONSE LEGROS 


[NUMBER 220] 


220 PORTRAIT OF GEORGE FREDERICK WATTS, R.A. — | 
Black and white chalk drawing on blue paper. The original drawing 
for the artist’s famous etching of the subject. Signed. Framed. 

Height, 13 inches; width, 814 inches 
From the Collections of Lord Leighton, P.R.A., and Francis Edward ee 
Bliss, Esq. : 2 


[SEE ILLUSTRATION ] 
64 


WILLIAM LEIGHTON LEITCH, R.I. 
SCOTTISH, 1804-1883 
221(a) VIEW IN THE ISLE OF WIGHT 
Water color. A beautifully executed miniature landscape. Initialled 
and dated, “W. L. L. 1848”. Gilt frame. 
Height, 3 inches; width, 414 inches 


FRENCH SCHOOL 
18TH CENTURY 


(b) MINIATURE LANDSCAPE WITH FIGURES 
Gouache. Gilt frame. (2) Height, 434 inches; width, 514 inches 


65 


LEON AUGUSTIN L’HERMITTE 
CONTEMPORARY FRENCH. 


Born in 1844 at Mont-Saint-Pére; a painter of humble scenes of French 
peasant life, which, by the simplicity and sincerity of his treatment, he 3 
invests with dignity and even majesty. Two good examples of his work 
are in the Metropolitan Museum, New York. 


LA MOISSON—HARVEST TIME 
BY LEON AUGUSTIN L’HERMITTE 


[NUMBER 222] 


222 LA MOISSON—HARVEST TIME 
Pastel. In a large field the golden hay is headed and stacked; in 
the foreground a peasant is seen plying his scythe; to the left the 
head and shoulders of a peasant woman are seen above the grow- 
ing stack of hay she is forming. Signed at the lower right. Gilt 
frame. Height, 14 inches; width, 18 inches 
From the Collection of Denys Hague, Esq. 


[SEE ILLUSTRATION ] 
66 


223 


224 


FAUCHEUR DE FOIN—-THE HAY-MOWER 
BY LEON AUGUSTIN L’HERMITTE 


[NUMBER 223] 


FAUCHEUR DE FOIN 
Pastel. On a gently sloping hillside a farmer is cutting the rich 
green hay of early summer; in the background are the trees of 
an orchard. Signed at the lower right. Gilt frame. 

Height, 14 inches; width, 18 inches 


[SEE ILLUSTRATION ] 


INTERIOR OF A COTTAGE 
A peasant seated at a table, on which is a lighted candle, while his 
wife brings in a bowl of soup. 
Charcoal. Signed “L. L’hermitte”’. Gilt frame. 

Height, 17 inches; width, 111% inches 
From the Cremetti Collection, 19253. 


67 


SIR JAMES D. LINTON, P.R.I. 
CONTEMPORARY ENGLISH 
225 OFF GUARD ‘ 
Water color. Signed with initials and dated 1874. Gilt frame. 
Height, 1414. inches; width, 1014, inches 
Exhibited at the Grosvenor Gallery, Paris Universal, Manchester, 
and Victorian Era Exhibitions. 


226 LADY WITH A SPINNING WHEEL 
Water color. Signed with initials. Gilt frame. 
Height, 834, inches; width, 11 inches 


227 THE REVERIE 
Water color. Signed with initials and dated 1874. Gilt frame. 
Height, 1414, inches; width, 101% inches 
Exhibited at the Grosvenor Gallery, Manchester, and Victorian Era 
Exhibitions. 


MABEL LIPSCOMB 
CONTEMPORARY ENGLISH 


228(a)MERCERY LANE, CANTERBURY 


Water color. Height, 8% inches; width, 1034, inches 
(b) INTERIOR OF “THE BEECHES”, TRING. 
Water color. (2) Height, 81% inches; width, 1034, inches 
ELYSE LORD 


CONTEMPORARY ENGLISH 


229 THE ARABIAN NIGHTS 
Oil on wood. Scheherezade telling stories to the Sultan, with groups 
round central characters representing incidents from the various 
stories. Initialled “E.L.” Framed. 
Height, 2614 inches; width, 48 inches 
Purchased from the Artist, 1923. 


68 


—_—." 


Z| 4 = 
oe oe ee, | 


LEOPOLD LOWENSTANE 
230 THE SIESTA 
Etching after the painting by Alma-Tadema; remarque proof, signed 
by both artist and etcher. Framed. 


HAMILTON McCLURE 
CONTEMPORARY ENGLISH 


231 SPRING, SUMMER AND AUTUMN 
Pastels. Three studies of female figures, framed separately. (3) 
Average height, 32 inches; width, 8 inches 
Exhibited at Liverpool, 1916. 


JAMES MACWHIRTER, R.A. 
CONTEMPORARY SCOTTISH 


232 ALPINE STREAM 
Water color. In the Simplon Pass. Signed “MacW.” Gilt frame. 
Height, 434, inches; width, 634, inches 


HENRY STACY MARKS 
1829-1898 


Marks started work in his father’s coach-building business by painting 
armorial bearings on carriages. He studied at the Royal Academy Schools 
and later specialized in natural history subjects, principally birds. 


233 EDWIN AND ANGELINA 
Water color. A pair of cranes in a background of reeds and foliage. 
Signed “H. S. Marks”. Gilt frame. 
Height, 181% inches; width, 81% inches 


234 DARBY AND JOAN 
Water color. A pair of storks on the edge of a pool. Signed “H. S. 
Marks’. Gilt frame. Height, 181% inches; width, 81% inches 


69 


SIR JOHN EVERETT MILLAIS, P.R.A. 
1829-1896 


One of the inaugurators of the Pre-Raphaelite School, and one of its most 
faithful and loyal adherents. His work was subjected to severe adverse 
criticism in the early part of his lifetime, but later he was acknowledged 
as one of the most talented painters of his day. 


235 ROYAL PROCESSION IN THE SEVENTEENTH CENTURY 
Silver-point. A splendid composition of many figures. Framed. 
Height, 1814 inches; width, 27 inches 
This drawing was awarded the Silver Medal by the Society of Arts, 
1840. 
Purchased from the Estate of Mrs. A. J. Millais, 1924, and accom- 
panied by a letter from Miss Mary H. Millais. 


236 MARY QUEEN OF SCOTS 
Water color drawing. The Queen seated on a couch in her boudoir. 
Framed. Height, 4 inches; width, 5 inches 
Exhibited at the Irish International Exhibition, 1907, and the 
Franco-British Exhibition, London, 1908. 


237 THE ROMANS CARRYING OFF THE SABINE WOMEN 
India ink drawing. The original finished drawing, being the de- 
sign for a gold medal. Framed. 


Height, 121% inches; width, 16 inches 
70 


GEORGE MORLAND 
1763-1804 


As a painter of rustic scenes and subjects, Morland stands quite alone; 
while absolutely faithful to nature, he transforms with his exquisite touch 
the most humble objects into beautiful pictures, satisfying alike to the 
mind and to the eye. 


THE TURNPIKE GATE 
BY GEORGE MORLAND 


[NUMBER 238] 


238 THE TURNPIKE GATE 
Mezzotint printed in colors. Engraved by William Ward after the 
painting by George Morland. Fine original impression. Good margin, 
but without the publication line. Folio, gilt frame. 
A SUPERB PRINT IN EXCELLENT CONDITION. 


239 THE FARMER’S VISIT TO HIS MARRIED DAUGHTER IN 
TOWN 
THE VISIT RETURNED TO THE COUNTRY 
Stipple engravings after Morland. Trimmed to the circular engraved 
borders. One time-stained. Framed. (2) 


71 


HEAD OF A SOLDIER 
BY GEORGE MORLAND 


[NUMBER 240] 


240 HEAD OF A SOLDIER 
Black and red chalk drawing. Gilt frame. 


Height, 111% inches; width, 81% 
From the Benoni White and J. P. Heseltine Collections. 


[SEE ILLUSTRATION ] y 


ATTRIBUTED TO GEORGE MORLAND 
241 THE FARMER’S FAMILY 


Pen and water color drawing. Seated before his cottage a farmer 

seen at the twilight hour, peacefully smoking his pipe and conve 
ing with his wife, who holds her sleeping babe. An older child stan 
at her father’s knee. Gilt frame. ? 


Height, 14 inches; width, 19 
12 


243 


244 


SIR DAVID MURRAY, R.A., P.R.I. 
CONTEMPORARY SCOTTISH 


STORNOWAY HARBOUR 
Water color. Signed and dated “David Murray, 1914”. Gilt frame. 
Height, 914 inches; width, 14 inches 


BY THE LAKE SIDE 

Water color and pastel. With a beautiful mountain vista as a back- 
ground, the smooth waters of the lake reflect the play of sunlight and 
color. Signed. Gilt frame. Height, 1414 inches; width, 171% wmches 


JOSEPH NASH 
1812-1878 


Nash was a fine artist in water color, specializing in architectural views 
and antique interiors and exteriors. He was a Member of the Society of 
Painters in Water Colours. In 1838 he published “Architecture in the 
Middle Ages’ and later, in four series, “The Mansions of England in the 
Olden Time’’. 


245 


246 


247 


THE LONG GALLERY, LANHYDROC, CORNWALL 

The original water color drawing for Plate VI in the Third Series 
of Nash’s “Mansions of England in the Olden Time”. Signed. Gilt 
frame. Height, 13 inches; width, 1914, inches 


THE GREAT BEDCHAMBER, KNOLE 

The original water color drawing for Plate XX in the Second Series 

of Nash’s “Mansions of England in the Olden Time’. Gilt frame. 
Height, 131% inches; width, 18 inches 


BARONIAL INTERIOR 
A fine study of an apartment in a Tudor mansion, with figures in 
seventeenth century costume, executed to illustrate one of Nash’s 
publications on architectural interiors. 
Water color. Signed “J. Nash’. Framed. 

Height, 12 inches; width, 19¥% inches 


73 


subjects attracted much more ean and it 1s by them that he is - best 


GILBERT STUART NEWTON 
1794-1835 


ars 3 


known. : eae 


248 STUDY OF A LADY SEATED 


249 


Height, 111% inches; a 8% inches — 
From the Collection of J. P. Heseltine, Esq. : 


M. L. NISBET 
CONTEMPORARY ENGLISH eis 2 
AUTUMN FESTIVAL nie oad 
Water color. A beautifully executed bacchanal procession. . 
Height, 231% inches; width, 3914 ir 
Exhibited at the Royal Institute of Painters in Water Cl 


74 


SALE THURSDAY EVENING, MARCH FOURTH, AT EIGHT-FIFTEEN 


250 


251 


THIRD SESSION 


NUMBERS 250-356 


MISS T. O?7-HALLORAN 
CONTEMPORARY BRITISH 


SUN-WORSHIPPERS 
Water color. Semi-nude figures against marine background, vividly 
colored. Height, 1014 inches; width, 14 inches 


SIR WILLIAM QUILLER ORCHARDSON, R.A. 
1835-1910 


NAPOLEON AT ST. HELENA DICTATING HIS MEMOIRS TO 
COMTE LAS CASES 
Large crayon study. The original conception for the famous paint- 
ing. tha BDU style frame of white and gold. 

Height, 49 inches; width, 85 inches 
From the Collection of the Right Hon. Lord Blyth, 1925. 


JAMES ORROCK, R.I. 


A well-known English painter and connoisseur, whose “Adam” house at 
48, Bedford Square was packed from cellar to roof with art treasures. 
He exhibited regularly at the Royal Academy from 1858 until his death. 
He was regarded as a reliable authority on works of art of practically 
every category. 


252 


253 


NEAR DANBURY, ESSEX : 

Water color. A broad stream, bordered by: willows on one bank, 
winds through a flat though picturesque landseape. On the left bank 
a herd of cattle graze. Signed, with the title in the artist’s hand. 
Gilt frame. Height, 111% inches; width, 1714 inches 


NEAR DANBURY 

Water color. In a broad meadow bordered by ity trees and caer 

buildings, a herd of cattle rest and graze. Signed. Gilt frame. 
Height, 71% inches; width, 181% inches 


75 


™ 


45 


204 


250 


256 


257 


JAMES ORROCK, R.I. 


SKETCH AT WARKWORTH, DURHAM 
Water color. Signed. Gilt frame. 
Height, 734, inches; width, 1234, inches 


HASTINGS 
Two water colors. Signed with initials. Mounted in one frame. 
Height of each, 7 inches; width, 934, inches 


JEAN PILLEMENT 
1727-1808 


A ROAD THROUGH A WOOD 
Black chalk drawing. A group of peasants with a laden donkey and 
two sheep are wearily trudging through an open glade in the forest. 
Signed in full and dated 1792. Gilt frame. 

Height, 614 inches; width, 914 inches 
Companion to the following. 


A WANDERING PEASANT AND HIS HERD 

Black chalk drawing. Through a watered landscape a peasant drives 

his donkey and goats. Signed and dated 1792. Gilt frame. — 
Height, 614 inches; width, 91% inches 

Companion to the preceding. 


SAMUEL PROUT 
1783-1852 


Celebrated for his architectural paintings; he was Painter in water colors 
to George IV and to Queen Victoria. In the “Studio Library” of English 
water color one reads: “His drawings of time-stained and weather-worn 
Gothic buildings are always interesting, and show a sympathy with their 
subjects which marks well the shrewdness of his observation.” 


258 


259 


STREET SCENES 

A pair of water colors depicting ancient Gothic ruins. Gilt 
frames, 62) Height of each, 934, inches; width, T% inches 
THE WELL 


Water color. Fine study of a memorial well. Figures of natives and 
church steeple in the background. Signed with monogram. Gilt 
frame. | Height, 10 inches; width, 734, inches 


76 


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a t : y 
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ee ee ee Oe ee ere ee” ee lg ee ee 


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260 


261 


262 


THOMAS PYNE, R.I. 
CONTEMPORARY ENGLISH 


CATTLE IN THE MEADOWS 
Water color. A fine landscape, with a sunset sky. Signed and dated 
“Thos. Pyne, 19138”. Framed. 

Height, 131% inches; width, 20 inches 
Exhibited at the Royal Institute of Painters in Water Colours, Lon- 
don, 1922. 


M. A. RAHAMAN CHUGHTAI 


DAWAN AT HAMALIA 
Water color and pen and ink drawing. Semi-nude female figure, from 
whose hands, posed ritualistically, fall flowers upon the snow-cov- 
ered mountain top. Framed. 

Height, 20 inches; width, 1214 inches 


LOUISE RAYNER 
CONTEMPORARY ENGLISH 


HIGH STREET, ETON 

Water color. A fine view of the college town, with groups of the 
students, in their traditional jackets and toppers, walking about. 
Signed. Gilt frame. Height, 934, inches; width, 151% inches 


Fite 


REMBRANDT HARMENSZ VAN RIJN 
1606-1669 


Rembrandt was the greatest individuality of the seventeenth century; he 
was equally skilled in every branch of painting and drawing; etching, 
which at that time had practically fallen into disuse, was reintroduced by 
him and he left behind etchings which, for technique and dramatic effect, 
have never been equalled. His interiors nearly always show sharp con- 
trasts between light and shadow. His sympathetic insight made his por- 
traits, more especially those of very old people, of which he painted a great 
number, able to stir the heart for all time. 


263 AN INTERIOR BY LAMPLIGHT 
Pen and brushwork, highly finished in bistre. Before a fireplace a 
man is seated, wearing a hat and reading; opposite him sits an old 


man in meditation, with his left hand before his eyes; further to 


the right a woman prepares a bed. Ebony frame. 

Height, 714 inches; width, 10 imches 
An engraving was made of this subject by Capt. Wm. Baillie. — 
From the Collection of the Most Hon. the Marquess of Lansdowne. 
PROBABLY ONE OF THE FINEST EXAMPLES OF REMBRANDT’S DRAWINGS. 
AVAILABLE FOR SALE TO-DAY. 


[SEE ILLUSTRATION]... 


8 


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AN INTERIOR BY LAMPLIGHT 
BY REMBRANDT VAN RIJN 


; _ [NUMBER 263] 


SIR JOSHUA REYNOLDS (AFTER) 


264 THE MASK; and, THE GHOST : 
Color chalk drawings. Probably preliminary drawings for Schia- 
vonetti’s color engraving for these pictures. Gilt frames, with black 
glass mats. (2) Height, 714, inches; width, 9 inches 
From the Cremetti Collection, 1923. 


T. M. RICHARDSON 
1813-1890 


265 OLD HOUSES IN HOLBORN 
Water color. The old houses of Staple Inn; in the street are passers- 
by in the costume of the early nineteenth century. Framed. 
Height, 934, inches; width, 1334, inches 


GEORGE F. ROBSON 
SCOTTISH, 1790-1833 


“Robson died young, and there may perhaps be some likeness to the gentle 
depths of sadness in Keats, traceable in his refusal to paint any of the 
leading streams or bright kindling heaths of Scotland, while he dwells with 
a monotony of affection on the clear repose of the northern twilight and 
on the gathering of the shadow in the mountain gorges till all their forms 
are folded in one kingly shroud of purple heath. But over these hours and 


colours of the scene his governance was all but complete.”—John Ruskin, 
“The Art of England’. 


266 LOCH ACHRAY 
Water color. A Highland scene, with river and mountains. Framed. 
Height, 29 inches; width, 53 inches 


80 


DANTE GABRIEL ROSSETTI 
1828-1882 


Equally renowned as a poet and as a painter; one of the founders of the 
Pre-Raphaelite Brotherhood, he was the centre of a large artistic and lit- 
erary circle. His mystical, almost mediaeval temperament makes his work 
distinctive. He painted in oils and water colors, and throughout his career 
made finished chalk drawings for his pictures which are highly prized. 


[NUMBER 267] 


267 A FIGHT FOR A WOMAN 

‘Water color. Locked in combat two young men in the costume of 
the Middle Ages strive to overpower each other. One has a sword, 
while the other, whose sword lies broken on the ground, fights bare- 
handed. In the background a woman crouches in terror. Signed 
with monogram. Gilt frame. 

Height, 1314 inches; width, 11 inches 
From the Collection of George Rae, Esq., 1917. 


[SEE ILLUSTRATION ] 
81 


268 


269 


270 


271 


272 


DANTE GABRIEL ROSSETTI 


WOMAN HOLDING A CRYSTAL 

Pastel drawing. MHalf-length, nude; waving hair falling below the 
shoulders. An extremely fine, finished study, with most unusual 
pastel handling. Signed with monogram “D.G.R.”, and dated 1874. 
Framed. Height, 35 inches; width, 221% inches 
From the Collection of Charles W. Mills, Esq. 

From the Collection of Fairfax Murray, Esq. 

Exhibited at the Burlington Fine Arts Club, London. 


PORTRAIT HEAD OF A LADY 

Red chalk drawing. Heroic size, bust-length, full face, hair hanging 

over shoulder. Signed with monogram, and dated 1867. Framed. 
Height, 21 inches; width, 17 inches 

From the Collection of Fairfax Murray, Esq. 


DEATH OF BREUSE 

Water color. Signed with monogram, and dated 1857. Framed. 
Height, 19 inches; width, 13% inches 

From the Collection of George Rae, Esq., 1917. oe 


HEAD OF MISS WILDING "a 
Red and black chalk drawing. Heroic size, bust-length, almost pro- 
file. Signed with monogram, and dated 1865. Framed, — 

Height, 161% inches; width, 131/ inches 
Miss Alice Wilding sat for the artist’s painting “Regina Cordium’’ 
exhibited in 1866. | 
From the Collection of F. S. Ellis, Esq. 
Exhibited at the Irish International Exhibition, 1907. 


DANTE AND BEATRICE 

Pen and ink. Two drawings on one sheet of Dante’s first vision of 

Beatrice and his meeting with her spirit in the Shades. Signed 

with monogram ‘“D.G.R.”, and dated 1849 and 1850. Gilt frame. 
Height, 141% inches; width, 2514 inches 

From the Collection of George Rae, Esq., 1917. 

Exhibited at the Burlington Fine Arts Club, London. 


82 


THOMAS ROWLANDSON 
1756-1827 


Born in London; at school he could draw before he could write. He trav- 
elled extensively on the Continent, the innumerable sketches he made show- 
ing his facility for rapid execution and the amazing fertility of his imagina- 
tion, which were the most striking features of his work throughout his 
life. He always tended towards caricature, and his gifts in this direction 
enabled him to take a place in the foremost rank of what was then the 
most popular form of art. 


PLOUGHING TIME 
BY THOMAS ROWLANDSON 


[NUMBER 273] 


273 PLOUGHING TIME 
Water color. In a fine rolling landscape with a picturesque group 
of cottages in the middle ground; the fall ploughing is in progress. 
Framed. Height, 814, inches; width, 1114, inches 


[SEE ILLUSTRATION ] 


83° 


274 


275 


276 


277 


278 


279 


280 


THOMAS ROWLANDSON 


THE VILLAGE ALEHOUSE , 

Pen and water color. Outside an alehouse sits an old country squire 

with his pipe and pot of ale; opposite sits a young spark flirting with 

the barmaid. In the background is a beautiful waterfall. Framed. 
Height, 11 inches; width, 81% inches 


OUTSIDE A COUNTRY CARRIAGE WORKSHOP 
Pen and water color. Framed. Height, 8 inches; width, 12 inches 


THE FREIGHT WAGON | 
Pen and water color. Fine rolling landscape. Framed. 
Height, 6 inches; width, 934, inches 


NYMPHS BATHING 
Pen and water color. In a fine wooded landscape with a group of 
nymphs bathing. Gilt frame. 

Height, 534 inches; width, 9% inches 
From the Collection of J. P. Heseltine, Esq. 


A PORT ADMIRAL, OR A SNUG CABIN 
Pen and water color drawing. Signed and dated 1803. Framed. 
Height, 7 inches; width, 101% inches 


THE LANDING AT MARGATE, 1792 
Pen and water color drawing. Framed. 
Height, 714 inches; width, 10 inches 


THE LECTURE 
Pen and water color drawing. Signed and dated 1798. Framed. 
Height, 71 inches; width, 514 inches 


84 


281 


282 


283 


284 


THE SHELDONIAN THEATRE, OXFORD 
BY THOMAS ROWLANDSON 


[NUMBER 281] 


OXFORD—THE SHELDONIAN THEATRE 
Pen and water color. Fine in its architectural details as well as its 
more characteristic features. Framed. 

Height, 81% inches; width, 12 inches 


[SEE ILLUSTRATION ] 


THE DEAD HORSE 
Pen and water color. Framed. 
Height, 7 inches; width, 1014 inches 


VILLAGE SCENE, WITH HUNTSMEN 

Pen and water color. Fine drawing. On the main street of the 
village a group of huntsmen surrounded by the hounds are having 
a stirrup cup. Framed. Height, 6 inches; width, 9 inches 


FLIRTATION 
Pen and water color. Signed and dated 1782. Framed. 
Height, 614, inches; width, 10 inches 


85 


A GAME OF CRIBBAGE 
BY THOMAS ROWLANDSON on 


[NUMBER 285] 


285 A GAME OF CRIBBAGE ee 
Pen and water color. Signed and dated 1785. Giltframe, 
Height, 91% inches; width, 14 inches 


[SEE ILLUSTRATION ] 
86. 


THOMAS ROWLANDSON (?) 


286 A CABRIOLET WITH FIGURES 
Water color. Framed. Height, 314 inches; width, 434, inches 


PAUL SANDBY 
1725-1809 


Sandby has, with justice, been called “the father of English water color” ; 


he was a pioneer of topographical drawing po published the first English 
aquatints. 


287 LANDSCAPE 


Water color. Figures of a lady and gentleman on a mound rising 
beside an old thatched cottage. Framed. 


Height, 5 inches; width, 714 inches 


CHARLES SARJENT 
ENGLISH, EARLY 19TH CENTURY 


288 IN THE WOODS 
Gouache. A man in top boots leading two shaggy ponies, another 
man beating a wae ee Framed.) & 
, Height, 1714 inches; width, 2314 inches 
From the Collection of the late Viscount Canterbury, Brooke pitta 
Norfolk, England. 


87 


289 


290 


TWO NEW RECRUITS 
BY CHARLES SARJENT 


[NUMBER 289] 


TWO NEW RECRUITS 
Gouache. Outside a village, with the sign of the Wild Boar, two 
rustics impressed by the recruiting sergeant. 

Height, 1714 inches; width, 231% inches 
From the Collection of the late Viscount Canterbury, Brooke House, 
Norfolk. 


[SEE ILLUSTRATION ] 


RATTING IN A FARMYARD 
Gouache. Three rustics with ferrets and terriers beating a stack of 


wood. Framed. Height, 1714 inches; width, 231% inches 


From the Collection of the late Viscount Canterbury, Brooke House, 
Norfolk. 


88 


291 


292 


POACHERS 
BY CHARLES SARJENT 


[NUMBER 291] 


POACHERS 
Gouache. Two men in a field, one on a brown pony and another be- 
hind an oak tree. Framed. 

Height, 1714 inches; width, 231% inches 
From the Collection of the late Viscount Canterbury, Brooke House, 
Norfolk. 


[SEE ILLUSTRATION | 
PHEASANT SHOOTING IN THE WOODS 
Gouache. Framed. Height, 171% inches; width, 231% inches 


From the Collection of the late Viscount Canterbury, Brooke House, 
Norfolk. 


89 


EVA SAVORY 
CONTEMPORARY ENGLISH © 


293 FLOWER PAINTING 
Water color. Colored anemones in a blue and white pottery jar. 
Signed and dated “Eva Savory, ’22”. Framed. 
Height, 131% inches; width, 191% inches 


294 FLOWER PAINTING 
Water color. Finely executed bunch of mixed flowers in a pewter 
tankard; black background. Signed “Eva Savory”. Framed. 
Height, 19 inches; width, 17 inches 
Exhibited at Gieves’ Art Gallery, London, 1923. 


295 JAPONICA 
Water color. Signed “Eva Savory”. Framed. 
Height, 194 inches; width, 231% inches 
Exhibited at Gieves’ Art Gallery, London, 1923. 


BYAM SHAW 
CONTEMPORARY ENGLISH 


296 THREE BLIND MICE; PATRIOTISM; SPECIAL ETIQUETTE 
Three pen and ink drawings. For “Punch”. Two are signed. 
Framed. (3) Average height, 12 inches; width, 10 inches 


SOUTH GERMAN SCHOOL 
16TH CENTURY 


297 HERCULES AND THE LION 
Pen and wash drawing. Attributed by some former owner to Jan 
Van Eyck. The name “J. van Eyck” is written in a very old hand 
in the lower corner. Framed. Height, 9 inches; width, 534 inches 
From the Collection of the Right Hon. the Earl of oe Wilton 
House, Salisbury, England. 


90 


AUSTIN 0. SPARE 
CONTEMPORARY ENGLISH 


298 THREE STUDIES 


299 


300 


501 


302 


303 


(a) Chalk study of a female head, colored. 
Height, 19 inches; width, 14 inches 
(b) Chalk study of a female head; black on brown paper. 
Height, 19 inches; width, 14 inches 
(c) Chalk study of a female nude figure, colored. 
Height, 18 inches; width, 22 inches 
All framed. (8) 
Exhibited by the Society of Independent Artists in London, 1924. 


J. R. SPENCER STANHOPE 
1829-1908 
CUPID’S SURPRISE 
Water color. Framed. Height, 1414 inches; width, 16 inches 
From the Collection of the Right Hon. the Earl of Wharncliffe. 


HELEN STIEBEL 


WOMAN WITH VEIL (1920) 
Pencil and wash drawing. Head of a woman, with reddish veil. 
Signed and dated. Framed. Height, 1414 inches; width, 10 inches 


GEORGE ADOLPHUS STOREY, R.A. 
1834-1919 


A KITCHEN INTERIOR | pres 
Water color. In the Casa Abad, Toledo, eee Framed. 
Height, 914 inches; width, 1314 inches 


FARM COTTAGES | See 3 
Water color. A picturesque group of carina: seen from the open 
gate at the road side. Gilt frame. 

Og 11 inches; width, 17 inches 


xs 


ROCKS AT SUNDERLAND; TAGUS AT TOLEDO Eel a 
Water color landscapes. Gilt frames. (2) Beye agit 


ot 


304 


205 


506 


307 


308 


309 


310 


oll 


312 


313 


314 


GEORGE ADOLPHUS STOREY, R.A. 


MAID CARRYING DISH 
Water color drawing. Gilt frame. 


NEAR HAMPTOON COURT; DOLLIS HILL, HENDON 
Water colors. Gilt frames. (2) 


GIRL IN GREEN; LADY BET; A MUSIC LESSON 
Water color and charcoal. Gilt frames. (8) 


COSTUME AND CHARACTER SKETCHES 
Water colors. Gilt frames. (3) 


COSTUME AND CHARACTER SKETCHES 
Water colors. Gilt frames. (3) 


GIRL IN RED; AT THE ORPHANAGE; KILBURN GATE 
Water colors. Gilt frames. (3) 


GATEWAY, CANTERBURY CLOSE; IN THE GARDEN, 12 
MARLBOROUGH PLACE 
Water colors. Gilt frames. (2) 


NEAR PEGWELL; COURTYARD, CASA ABAD, TOLEDO 
Water colors. Gilt frames. (2) 


THE CITY OF TOLEDO; POOTINGS 
Water colors. Gilt frames. (2) 


NEAR WILLESDEN; VERULAM 
Water colors. Gilt frames. (2) 


BRIDGE AT TOLEDO; HIGH ROAD, KILBURN; BAKER’S 
HOUSE, TOLEDO 
Water colors. Gilt frames. (3) 


92 


FREDERICK TAYLOR 
1802-1889 


Taylor studied in Rome and in Paris, where he was a friend of Bonington; 
he is celebrated as a painter of sporting subjects in water colors. 


815 THREE HUNTSMEN (GOING TO COVER WITH THE HOUNDS) 
Water color. Signed with initials and dated 1872. Gilt frame. 
Height, 34%, inches; width, 61% inches 


316 A LADY WITH HORSE AND DOGS 
Water color. Gilt frame. Height, 4 inches; width, 614, inches 


SIR JOHN TENNIEL 
1820-1914 


Tenniel was born in London in 1820; he was best known for his work on 
the staff of “Punch” and as the illustrator of “Alice in Wonderland”, but 
he was also a fine painter, having had a picture on exhibition at the Gallery 
of British Artists while still a boy; he was also awarded the prize in the 
Cartoon Competition for the decoration of Westminster Hall in 1845. He 
was knighted in 1893. 


317 IN HER TANTRUMS 
Pencil drawing. France represented as an enraged woman severely 
shaking the figures of two small boys, one in the costume of Siam, 
the other in that of Morocco; John Bull and other nationalities are 
seen in the background, looking on in approval. Signed with initials. 
Framed. Height, 8 inches; width, 614 inches 


318 JOHN MORLEY, DIOGENES (1899); RUBBING IT IN (1900) 
Two pencil drawings. For “Punch”. Signed and dated. Framed. 
(2) Average height, 7 inches; width, 7 inches 


93 


319 


320 


O22 


323 


324 


325 


326 


G. MILINAIRE-THIESSARD 
CONTEMPORARY FRENCH 


ROSES AND GUELDER ROSES 
Water color. A fan-shaped panel. Signed “G. Milinaire-Thiessard”. 
Framed. Height, 161% inches; width, 24 inches 


A. JAMES THIRIAR 
CONTEMPORARY BELGIAN 


SENTINELLE DOUBLE SUR LA ROUTE DE 6&..... , FLANDRE 
(1916) 
Pen and ink drawing. Signed and dated. Framed. 

Height, 1834, inches; width, 1234, inches 


UNKNOWN 


DUCHESS OF BEDFORD 
Pencil and water color drawing. Head finely finished in the miniature 
manner, body three-quarter length, in pencil only. In fine seven- 
teenth century Venetian glass frame. 

Height, 7 inches; width, 5 inches 


LANDSCAPE WITH FIGURES 
Black chalk drawing on grey paper. Framed. 
Height, 5 inches; width, 7 inches 


LIVERPOOL FROM THE MERSEY | | . 
After the painting by Chambers, 1839. Unfinished proof. Framed. 


COFFEE STALL; PROMENADE; DOG’S HEAD 
Pen and ink and water color drawings, two of a humorous nature, 
somewhat in the manner of Keene. All framed. (3) 


THE RIALTO; THE GRAND CANAL, VENICE 
Pencil drawings. Fine in their studies of architectural detail. Dated 
September 28, 1905. Framed. (2) 

Height of each, 9 inches; width, 114% inches 


94 


ATTRIBUTED TO SIR ANTHONY VAN DYCK 
1599-1640 


328 Portraits of the Children of Charles I. Pen and brush sketch in sepia. 
Sketch for the picture at Windsor Castle. Oval, in gilt frame. 
Height, 434, inches; width, 614 inches 


ADRIAEN JANSZ VAN OSTADE 
1610-1685 


A celebrated painter and engraver of scenes of Dutch peasant life; he was 
born and lived at Haarlem, studying under Frans Hals. 


329 A DUTCH KERMESS 

Black chalk and bistre wash. Before a cottage two men are engaged 
in cutting up a pig which is strung up by the hind legs; men, women 
and children form a group of interested bystanders. In the back- 
ground are low buildings which have the appearance of booths at a 
fair. Signed “A. V. Ostade”. Framed. 

Height, 5 inches; width, 7 inches 
From the Collection of the Most Hon. the Marquess of Lansdowne. 


95 


JOHN VARLEY 
1788-1842 


Varley ranks high among the early English water colorists; he was recog- 
nized as a fine and original landscape painter and made a large mcome 
which, however, he spent so freely on his friends that he was always m 
difficulties. His early drawings of Welsh scenery are considered particu- 
larly fine. 


SLO ETE PITT ee ane 


NORTH WALES—EVENING 
BY JOHN VARLEY 


[NUMBER 330] 


330 NORTH WALES—EVENING 
Water color. Framed. Height, 934, inches; width, 1334, inches 
The “Old Water-Colour Society’s” Annual Volume for 1924-25 repro- 
duces a view called “Bedgellert Bridge, 1805”, of which this present 
view is almost an exact duplicate. 


[SEE ILLUSTRATION ] 
96 


dol 


Dol 


Doo 


Do4 


00 


336 


dol 


FOLKESTONE 

Water color. Across a field of standing wheat the roofs and towers 
of the town can be seen; to the left are the cliffs, and in the distance 
at the right the blue waters of the English Channel glint in the 
sunlight. Guilt frame. Height, 5 inches; width, 8 inches 
Exhibited at Burlington House, London, 1891. 

From the Collection of James Orrock, Esq., R.I. 


PRESTON, NEAR BRIGHTON 
Water color. Gilt frame. Height, 314, inches; width, 514 inches 


WINDSOR 
Water color. A river scene with view of Windsor and the Castle in 
the distance. Gilt frame. Height, 344 inches; width, 51% inches 


From the Collection of James Orrock, Esq., R.I. 


RIVER SCENE, SURREY 
Water color. Landscape with figures on the road and in a boat. 
Windmill and distant view of a mansion. Gilt frame. 

Height, 414 inches; width, 6 inches 


V. VENKATA RATNAM 


VENUGANAMU (1923) 
Water color. Semi-nude male figure, playing upon a reed-like instru- 
ment. Signed and dated. Framed. 

Height, 1534, inches; width, 71% inches 


W. H. WALKER 
CONTEMPORARY ENGLISH 


THE BIRD FANCIER 
Water color. An interior, crammed with cages containing pets of 
every description; the old man, in spectacles and slippers, gazes in 
astonishment at a cage in his hand, through the bars of which peeps 
a gay little cupid. Initialled “W.H.W.” Gilt frame. 

Height, 1034, inches; width, 7 inches 


TRUE AND FALSE 

Water color. A smiling girl stands on the river’s brim, shaking 
through a sieve a number of mischievous elves and sprites, while 
Cupid, too big for the mesh, remains triumphant, smiling at their 
downfall. Gilt frame. Height, 9 inches; width, 634 inches 


97 


W. H. WALKER 
338 ON THE TRAIL 
Water color. In a landscape, flooded with spring sunshine, sits a girl 
in a green and yellow robe, with a mandolin, a cat by her side, while, 
behind a tree, lurks Cupid with his bow. Gilt frame. 
Height, 934, inches; width, 6 inches 


WAR CARTOONS 


339 A CHAMPAGNE VICTORY, AND OTHERS 
Two water colors and two chalk drawings. “A Champagne Victory”, 
by Terzi; “Peace, Peace!” by Bonzaghi; “A Sentinel in Belgium”, 
by Sachetti; “A Vintage of Murder”, by Girus. Signed. Framed. 
(4) Average height, 17 inches; width, 14 inches 


JAMES WARD 
1769-1859 


Born and studied in London—a famous engraver and painter. From 1790- 
1855 he exhibited paintings, chiefly of animals, which attracted consider- 
able attention. 


340 MILKING TIME 
Pencil drawing. A farm boy sits on his stool milking a cow, while 
the maid sits by waiting to carry off the pails. Signed “J.W., R.A.” 
Gilt frame. Height, 714 inches; width, 11 inches 
From the Collection of J. P. Heseltine, Esq., 1920. 


341 STUDY OF TWO CALVES 
Water color. Signed ‘“J.W., R.A.” Gilt frame. 
Height, 514 inches; width, 9 inches 
From the Collection of J. P. Heseltine, Esq., 1920. 


WILLIAM WARD 
1766-1826 


342 DAUGHTERS OF SIR THOMAS FRANKLAND, BART. 
Mezzotint after the painting by John Hoppner. Frankau, No. 125. 
Beautiful impression of the Third State before the change of title. 
Published March 1, 1797. With wide margin. Framed. 
A RICH AND PERFECT IMPRESSION OF PROBABLY THE FINEST PLATE 
EXECUTED BY WILLIAM WARD. OF THE GREATEST RARITY. 
There was no copy in the Halsey Collection. 


[SEE ILLUSTRATION | 
98 


DAUGHTERS OF SIR THOMAS FRANKLAND, BART. 
BY WILLIAM WARD 


[NUMBER 342] 


A SACRIFICE TO HYMEN 
(PORTRAITS OF THE HON. MRS. BERESFORD, THE HON. MRS. GARDINER 
AND THE MARCHIONESS TOWNSHEND) 


[NUMBER 343] 


THOMAS WATSON 
1750-1781 


343 A SACRIFICE TO HYMEN (PORTRAITS OF THE HON. MRS. 
BERESFORD, THE HON. MRS. GARDINER, AND THE 
MARCHIONESS TOWNSHEND) 

Mezzotint after the painting by Sir Joshua Reynolds. Magnificent 
original impression of the First State, proof before all letters. Good 
margin. Folio, framed. 

EXTREMELY RARE IN FIRST STATE. 


[SEE ILLUSTRATION ] 


100 


JEAN ANTOINE WATTEAU 
1684-1721 


At an early age Watteau went to Paris, where he worked under the great 
disadvantages of poverty and ill-health. Ultimately he met friends and 
patrons able to appreciate his genius. He was the originator of the French 
eighteenth century school of graceful figure and landscape subjects, his 
drawings being full of spirit and vigor. 


GARDEN SCENE | A CONVERSATION 
BY JEAN ANTOINE WATTEAU BY JEAN ANTOINE WATTEAU 
[NUMBER 344] [NUMBER 345] 


344 A GARDEN SCENE WITH FOUR FIGURES 
Sketch in red chalk. A characteristic group in a pastoral background. 
Gilt frame. Height, 9 inches; width, 714 inches 
This and the following number are two most charming examples 
of the grace and expression for which Watteau was so justly famous. 


[SEE ILLUSTRATION | 


345 A CONVERSATION 
Sketch in red chalk. A lady and a gentleman in animated discourse 
as they promenade in a garden. Figure of an attendant in the back- 
ground. Gilt frame. Height, 9 inches; width, 714 inches 


[SEE ILLUSTRATION ] 
101 


RICHARD WESTALL, R.A. 
1765-1836 


Born at Hertford, England. He entered the Royal Academy Schools mn 
1785 and became a friend of Sir Thomas Lawrence, who encouraged and 
helped him. During the earlier part of his career he was a book illustra- 
tor; he was an exhibitor at the Royal Academy for fifty-two years. He 
became famous for his pencil portraits, for which the majority of the 
important people of his day sat to him. 


347 


348 


349 


550 


351 


3502 


PORTRAIT OF A YOUNG MAN 

Colored chalk drawing. Subject represented half-length facing three- 
quarters to right in the costume of about 1810. On grey paper. Gilt 
frame. Height, 81% inches; width, 6% imches 


[SEE ILLUSTRATION ] 


PORTRAIT OF A LADY 

Colored chalk drawing of a noble lady of middle-age. Half-length, 
seated, with white bandeau in her hair and white neck scarf. Gilt 
frame. Height, 814 inches; width, 614 inches 


PORTRAIT OF A GENTLEMAN 
Colored chalk drawing. Half-length, standing, facing full front, in 
Spencer coat and high roll collar. Gilt frame. 

Height, 81% inches; width, 61% imches 


[SEE ILLUSTRATION ] 


PORTRAIT OF A GENTLEMAN 

Colored chalk drawing. A gentleman of noble countenance half- 

length, seated, facing left, head turned to front. Gilt frame. 
Height, 81% inches; width, 614 inches 


PORTRAIT OF A BOY 
Colored chalk drawing. A most delightful child portrait. Half- 
length, three-quarters to right. Gilt frame. 

Height, 814 inches; width, 514 inches 


[SEE ILLUSTRATION ] 
PORTRAIT OF A BOY | 
Colored chalk drawing. Boy with long hair, Spencer coat and white 


neck scarf, seen half-length, head turned to right. Gilt frame. 
Height, 814 inches; width, 514 inches 


[SEE ILLUSTRATION ] 
102 


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HAYMAKERS AT REST 
BY FRANCIS WHEATLEY 


[NUMBER 353] 


FRANCIS WHEATLEY 
1747-1801 


353 HAYMAKERS AT REST 

Water color. A delightful group depicting in Wheatley’s inimitable 
manner the feeling of rustic peace and contentment. The elder 
matron is reclining’ on a pile of hay, asleep; a younger damsel sits 
at her side, seemingly in a watchful attitude ready to warn a young 
couple in loving’ discourse in the background, while the ever-present 
dog explores the basket of lunch. In color and composition this is a 
magnificent example. Gilt frame with black glass mat. 

Height, 13 inches; width, 16 inches 


[SEE ILLUSTRATION ] 
104 


SELF-PORTRAIT 
OF JAMES ABBOTT MCNEILL WHISTLER 


[NUMBER 354] 


JAMES ABBOTT McNEILL WHISTLER 
1834-1903 


354 THE ARTIST’S SELF-PORTRAIT 
Charcoal drawing on brown paper. A clever and characteristic ex- 
ample. Gilt frame. Height, 7 inches; width, 514 inches 


Similar to self-portrait in black and white shown in the Whistler 
Memorial Exhibition in 1905. 


From the Thibaudeau and J. P. Heseltine collections. 
[SEE ILLUSTRATION ] 


105 


RICHARD WILSON 
1714-1782 


355 REMAINS OF CIRCUS MAXIMUS, ROME 
Pencil study for the large picture. On grey paper. Framed. 
Height, 614, inches; width, 15 inches 
From the Collections of Professor Charles Eliot Norton, Harvard, 
and Richard Norton, Esq., Boston, Mass. 


EDMUND MORISON WIMPERIS 
1835-1900 


Artist in water colors, who painted chiefly landscape. He was Vice-Presi- 
dent of the Institute of Painters in Water Colours in 1895. 


356 COTTAGES NEAR RINGWOOD 
Water color. A rustic cottage beside a quiet country road. Ducks 
are seen approaching a small pond in the foreground. Gilt frame. 
Height, 6 inches; width, 934, inches 
Examples of the work of Edmund Wimperis are very rare as well 
as beautiful, and are much sought after in England. 


106 


1926 Mar. 2 NeAnL c.2 
Anderson /Art collections of the 
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